Ultima Vez in Wim Vandekeybus’s “nieuwZwart.” Photo © & courtesy Pieter-Jan De Pue.
By Paul Ben-Itzak
Copyright 2009, 2017 Paul Ben-Itzak
PARIS — At a certain point in Wim Vandekeybus’s “NieuwZwart,” seen in its French premiere Tuesday on Vandekeybus’s company Ultima Vez at the Theatre de la Ville – Sarah Bernhardt, I asked myself, to cop a line from my DI colleague Chris Dohse, “What are they so angry about?” A man violently throws another into the audience and laughs diabolically even as his victim grunts in evident pain. A woman straddles/strangles a man between her thighs. Another repeatedly knocks the white-suited narrator (Ultima Vez veteran Gavin Webber) on his side as he’s talking. Men or women repeatedly kick their colleagues when they’re down, usually adding contemptuous regards. And overall, the tenor of the physical contact between performers, particularly in the partner dancing, was of the genre regularly exhibited by European companies, in which the dancing seems more like dance-fighting, or if you prefer dance-wrestling, or at least dance-grappling.
I decided to just ask the choreographer, after the performance, “Where’s all the anger coming from?”
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