Date: February 21, 2017
Company: Bayerisches Staatsballett II
Location: Hong Kong Academy for Performing Arts, Hong Kong.
Balanchine – Allegro Brillante
Duato – Jardí Tancat
Siegal – 3 Preludes, Rialto Ripples
Gerhard Bohner, after Schlemmer – Das Triadische Ballett
The appointment of Igor Zelensky as Ballet Director at Bayerisches Staatsballett in 2016 means that his predecessor, Ivan Liška, would either leave or be reassigned elsewhere. Liška, who has for nearly two decades overseen the ballet company’s rise into a formidable company with equal emphasis on classics and modern, has since taken up directorship of the junior company. Liška’s new appointment may be seen as a downgrade to some. But in many ways, Liška’s new appointment could very well point to his personal ambition to raise the prominence of the junior company and, given Liška’s stature and prominence, Munich’s desire to become a magnet for young rising stars. Many of these young stars were vividly featured this evening.
As the feminine protagonist in Richard Siegal’s choreography, to popular tunes by George Gershwin, Margarida Neto dazzled with a fantastic display of athletic finesse, precision timing and theatric artistry. Witnessing Neto’s acrobatic athleticism was liberating and revelatory. Her demeanor revealed an inner-self that is rebellious at heart. A contemporary whom she would readily look up to would be Natalia Osipova. Her three male counterparts were dutiful and humorous, but as they jumped en tutti with Neto it was clear that Neto exhibited superior control of timing (in relation to music) and muscles (in achieving elevation). I would not be surprised if Neto soon finds an offer as soloist in the senior company or elsewhere.
If Balanchine’s choreography chiefly demands technical mastery of the individual steps, Bianca Teixeira and Francesco Leone, the soloists in Allegro Brillante, were more than competent in that regard. Teixeira displayed strong arched back and good pointe work, while Leone was a solid partner with effortless elevation. Crucially, both were musically inclined and ready to dance to the music rather than to a list of steps. The rest of the ensemble revealed a well-rehearsed junior company in which jumps were in sync and positions were well-aligned. Liška should be proud of their effort overall.
Das Triadische Ballett, of course, was created by Oskar Schlemmer during the nascent days of Bauhaus. Dance, which before Bauhaus was designed to express emotions, were reduced into mechanic display of basic geometric forms and movements under Schlemmer. Ballerinas in tutus would move like a horizontally spinning disc. Danseurs would move like robots, with their limbs moving in simple degrees of freedom. If Bauhaus as a design philosophy means to reduce objects into abstract principles of functions and forms, then Das Triadische Ballett is a hugely significant attempt to apply that philosophy into dance. Whether that treatment has any philosophical or historical significance in altering dance thereafter is up to debate (though most modern choreography, including Balanchine’s, probably borrows fundamental abstractions from or reflects such abstractions central to this philosophy), the singular outcome definitely results in something fundamentally different from what the dancing world has heretofore experienced. This Munich showcase is based on a reconstruction by Gerhard Bohner in 1977. In this instance, Hans-Joachim Hespos replaces a soundtrack having works by Tarenghi, Bossi, Debussy, Haydn, Mozart, Paradies, Galuppi and Handel, with his own. The mutation is not entirely uncalled for, as Schlemmer himself has proclaimed the work to be accompanied with contemporaneous music.
In contrast with the music in the 1970 reconstruction by Margarete Hastings, which is available on Youtube, Hans-Joachim Hespos’ work is more violent in its usage of atonality and random noise. Tuneless output has the effect of drawing the audience’s attention away from what is presented to what the tuneless noise means. Whether it be (presumably) metallic scratching or beating of random pieces of plastic, that randomness does trigger in the modern mind a corresponding action, focus, or event that may or may not be what the choreographer intends to be. This is perhaps why a continuous rendering of tonal Haydn, Mozart or Handel could better direct the audience’s attention towards the dancers.
Of course, Schlemmer does not intend the piece to be merely about dancers. Costumes form a huge part of the display philosophy. Here, the costumes defer squarely to Schlemmer’s original, where costumes with names like “Sphere skirt”, “Disc”, “Wire Costume” and “Gold Ball” are meant to represent abstractions of the human body which, with their specific material properties, determine the dancers’ every movement. The physical presentation here is formal, without any unnecessary embellishments. Dancers essentially are there to showcase the costumes as models. For the most part they did well, other than an accidental clash between the “Disc”s and the occasional exposé of the dancer’s arm in the “jellyfish” costume, which certainly would not have pleased Schlemmer.
The bigger issue in this Bohner reconstruction is the dark background. While the dark background features movements and costumes more prominently, the overall presentation is too tiring to the eye, especially when the costumes are constantly spotlighted over darkness. Schlemmer calls this “triadic” because he aims to juxtapose presentations in multiples of three, whether it be a reference to the number of dancers, costumes in each segment, or in the dimensionality of the presentation. But it also refers to the tripartite-ness of the presentation — one that is partitioned into yellow, pink, and black. Here, because everything is maneuvered in pitch black, the three partitions exist only in the different costumes, and, ever marginally, in the music composition. Any future revival or reconstruction would probably benefit from the tripartite-ness of the background color, if only to go easier on the eyes. That being said, Liška should be lauded for his bravery and determination to allow such a significant project — historical in its place in German modern art and modernism — to bear fruit. The Arts Festival, likewise, should be commended for bringing Schlemmer’s adventurism, for the first time, in front of the Hong Kong audience.