Funny how things turn upside-down with time. A work of contemporary dance that made an iconoclastic splash decades ago is revived today, exactly as it was, as if it were a museum piece. Yet more long-standing dance traditions — such as flamenco and circus — are constantly being remodelled.
The contemporary work is that legendary 1987 invention of Eurocrash by the Belgian dance-inventor Wim Vandekeybus, What the Body Does Not Remember. The icons it trashed included rules about the place of grace in dancing, even the place of knowledge — Vandekeybus was a photographer and experimental theatre performer when he made this, his first dance piece, never bettered. Those icons have had boots in their faces for a generation since, so does this piece stand up? Not just as a piece of history but as something fresh and alive? Oh, yes.
In 1987 it was the roughness and violence that struck me, bricks being heaved around the stage, stomping sequences as bodies twitched to get out of the way of big boots, and the air of uneasy sexual friction between men and women.
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