Bomba Suicida – Hurra! Arre!
Teatro Remondini Thursday 26th August 2010
Choreographer: Luis Guerra de Laocoi
Dancers: Luis Guerra de Laocoi, Sofia Dias
Amidst a dark stage, with two overhead warm stage lamps, two characters move in synchronised fashions, sometimes together sometimes slightly apart, wearing body leotards patterned with transparent vertical lines. Piano notes are being played, the same note, a millisecond apart from each other, sometimes longer apart and sometimes at the same time.
I am taken back to a time where I dream to have existed; the 1920’s during the movement of Dada, to the land of Hans Richter, Stravinsky, Mesens, Breton and Duchamp. Guerra de Laocoi has created a piece with such a strong influence of this time; I really had not needed to look at the programme to see what it was before my eyes. I could hear the duel tonal piano, the Schoenberg elements. Not being sure if the soundtrack was historic and if Anatol Waschke Length (sound and lighting designer) had looped sections, or if it was a new composition. Either way, I was removed from the year of 2010 and put firmly into what I consider to be the 1920’s.
Both the soundtrack and the movements were in sync OR not, doing the same but not quite. Balletic and yet structured with such attack. Elegant both in dramatique sense where perfect movements were interrupted by animalistic gestures a humour that once again brings me back to the Dada artists, who slowly led onto the satirical element of the Surrealists.
Maybe I have these two art movements in my mind having come almost immediately come from the ‘Another World’ exhibition at the Scottish National Galleries, where Dali, Magritte, Duchamp, and Man Ray are all proudly on display. But it is as if this performance of Hurra! Arre! were simply part of the same.
On reading the program this morning I learn that Hurra! Arre! the cheering of a crowd and the calling of sheep are indeed two very different callings that can be interpreted differently yet with such slight movements. For me the narrative of the piece was superfluous to the attitude and aesthetics of the dynamics of the two dancers and the soundtrack.
Certainly a must to see, whatever age you would like to have lived in.