| Five Beginnings by Tommi Kitti |
| First presented in 2002 by National Dance Company Wales |
| cast size:8 |
There is 1 review of National Dance Company Wales's Five Beginnings in our database:
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Five Beginnings
by Tommi Kitti
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[print] |
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venue Theatr Brycheiniog, Brecon |
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October 10, 2002 |
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| Silence. Stillness. But the stage is already filled with expectations of (e)motional power in the same way air awaits to be cracked by sharp white lightening. Or: The Moment of pause before the photographer traps an image in black and white. Eyes are looking. The dancers in fluid shades of grey search and discover reflections of their own images. Five Beginnings is a vibrant and beautiful creation of such spiritual moments by the highly acclaimed Finish dancer-choreographer Tommi Kitti. Human beings in photographs: the self looks at the self. The dawn of consciousness begins – as the dawn of motion is sparked off: Harmonious gestures are brilliantly linked with springy movements, never interrupting the radiance of the dancers kinetic energy. In the fluency of the bodies and steps lies the never-ending evolution of developing personalities and meanings. In their expressions mutability is visualized. Suddenly the oscillating music of Giacinto Scelsi and Sampo Lassila seems to have a decelerating effect, holding bodies in squares of light (perfectly tuned by Grant Barden). As if to emerge from this cocoon motion explodes leading to a duet in which a man and a woman try to vanquish the partner’s soul and body: Each step is a new decision in their relationship. Here the dance feels like a sigh of ecstatic harmony to be contradicted by denial and loneliness. Hands touch each other on the spur of a moment releasing a cascade of emotions. Tommi Kitti is a psycho-semantic master of movement, doubling and tripling images of self-consciousness, manipulation of opinion and love. At the end black and white bursts into burning colours (costumes by Steve Denton). Wonderful! Diversions’ dancers are in perfect concordance with each other and this choreography of thrilling suspension and seductive volatility. This is – together with Shigehiro Ide’s Unspoken Agreement – an outstanding evening not to be missed. |
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| reviewer: Verena Winter (Theatre Record, London) |
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