What the Body does not remember is a recreation of the seminal 1987 work. Ultima Vez, What the Body Does Not Remember photo Tony Lewis, courtesy Adelaide Festival 2013 There’s something of the rock star in Lecavalier strutting her stuff and I can’t help but admire her tenacity. I remembered La La La Human Steps collaborating with David Bowie. The music of Iggy Pop was featured in this piece. The intimate venue allowed us to breathe with Lecavalier, not just watch her convincing puppet-like performance. Meaning is again produced in the assured relentlessness of the display. There is showmanship here, flair, even when the movement is again throw-away. This is not about the simple meaning of weight and momentum. There is dainty peripheral fluttering of feet and hands, daring catches, huge propulsion from small impetus. Occasionally they break out into moves of their own. There is something poignant in that determination in the face of want.Ī Few Minutes of Lock has Lecavalier suspended and moving in relation to two men. ![]() ![]() The impact of the determined and exact physicality in the piece has more to do with an experience of endurance and stamina. This longing is represented with great irony and control. The program note points us to conceive of the dancers (and ourselves) as children with the longings of children. Then there is the sound of children playing and later crying. We move from the likes of Leonard Cohen to Miles Davis to Billie Holliday (to name a few) through to a Puccini climax all songs of love and longing. There is familiar vocabulary from Lecavalier’s time with Édouard Lock’s Canadian company La La Human Steps: the primal high crawl at speed, the decisive manipulation of an object (in this case pillows and a pole), fragments of ballet (fancy foot work, soft arms, stated arabesques), high velocity horizontal and vertical leaps, gestural partner work (expressing both tenderness and violence), forward and rewind, all performed with throw-away casualness.Ĭhildren is set against musical tracks that locate the piece in Lecavalier’s era. Louise Lecavalier is formidable at 50-muscular, assured, capable of great nuance and completely at the centre of both works, Children and A Few Minutes of Lock. (SEE P11 FOR RESPONSES TO GUILLEM AND MCGOWAN, EDS.) louise lecavalier ANNE THOMPSON LOOKS AT THREE OF THESE, REFLECTING ON DANCE LANGUAGES, SKILL AND ENDURANCE AND ISSUES OF CULTURAL AND AESTHETIC FRAMING. ![]() THE 2013 ADELAIDE FESTIVAL’S STRONG DANCE PROGRAM INCLUDED SYLVIE GUILLEM, LOUISE LECAVALIER, WIM VANDEKEYBUS’ ULTIMA VEZ, A FLAMENCO PROGRAM DIRECTED BY CARLOS SAURA AND THE PREMIERE OF A WORK BY EMERGING AUSTRALIAN CHOREO-GRAPHER LARISSA MCGOWAN. Louise Lecavalier, Patrick Lamothe, Children photo Tony Lewis, courtesy Adelaide Festival 2013
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