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Compagnie Maguy Marin in Maguy Marin’s “Umwelt.” Photograph by and copyright Christian Ganet and courtesy Theatre de la Ville.
By Paul Ben-Itzak
Copyright 2015, 2017 Paul Ben-Itzak
PARIS — One of the endurance tests of a work of art is its malleability over time. When I first saw Maguy Marin’s “Umwelt” 10 years ago in its Paris premiere at the Theatre de la Ville – Sarah Bernhardt, if the choreography was dense, the dance’s spirit was still unrelentingly slapstick, with nine performers taking turns surging rapid-fire — alone, paired, or in triplets — from the opening between three lateral walls of mirrors, le tout, mirrors and humans with their various props (baby dolls, turkey drumsticks, army helmets, guns, aprons, foliage, blonde wigs, laboratory jackets, pills, buckets of dirt…) buffeted about by wind machines as they engaged in everyday human interplay and gestures ranging from kisses to left hooks, with the occasional flashing of buttocks and genitals tossed in to remind you it was, after all, European modern dance. (And to ensure the ‘unfamily friendly’ label from the constipated directors of the Joyce Theater; who needs the NYPD — which swooped down on Anna Halprin’s frolicking performers at the Kaye 50 years ago — when the pre-censoring is done in-house?) Even the bombastic score — played by a single strand of twine which crossed the downstage from one spool to another, caressing the strings of three prostrate electric guitars en route — couldn’t perturb the frothy demeanor of the movement. What outraged me was that where no one had walked out of the same theater during a Wim Vandekeybus spectacle the previous week which projected graphic images of children being tortured and killed, 40 spectators fled “Umwelt,” the more optimistic work. On Friday December 4, though, at the opening of the reprise of “Umwelt” on the same stage, I started sobbing at the first appearance of the performers. With their bright pedestrian outfits and variety of human shapes and ages, in their frantic running back and forth, fighting against the torrential currents of the wind and lost in the confines of the buckling rows of mirror-wall centurions, they seemed to be the innocents killed November 13, discombobulated and disoriented over what had just happened to them, trapped in this antechamber between existance and the afterworld like Captain Kirk hovering between two dimensions, juggling the detrius of their lives on Earth until we the survivors could set things right. At the moment, the verdict is still out, as we too seem to be hovering like Kirk between two worlds — or at least two worldviews, that of trepidation and fear and that of persevering hope.
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