Norwegian modern dance group Carte Blanche performs Sharon Eyal and Gai Bachar's Corps de Walk at the Playhouse theatre for two nights only.
Corps de Walk is the latest piece by Norway's contemporary dance company Carte Blanche. Carte Blanche has fast gained an international reputation as one of the most extraordinary dance companies in the world, performing works by some of the best and most celebrated Norwegian and international choreographers.
Choreographer Sharon Eyal broke onto the scene almost eight years ago with her hit production Love, which stamped her name on the contemporary dance world, and has not looked back. She and artist Gai Bachar have put together a new, jaw-dropping, one-act show that promises to mesmerize and fascinate.
Choreographer Sharon Eyal broke onto the scene almost eight years ago with her hit production Love, which stamped her name on the contemporary dance world, and has not looked back. She and artist Gai Bachar have put together a new, jaw-dropping, one-act show that promises to mesmerize and fascinate.
Tonight's performance brought the audience to their feet after sixty minutes of flawless, synchronization. In a breathtaking display of stamina, coordination, strength, and precision the Carte Blanche dance group wowed the audience and showed how they earned their reputation.
Eyal and Bachar also created the costumes for Corps de Walk. Dancing a piece like this is in itself difficult enough but these dancers had the added challenge of wearing white contacts that partially obscured their view. They not only had to have their routine down to a T but then had to be able to feel and sense the other dancers: their timing and spacing was captivating in its accuracy.
The dancers moved through their routine from section to section without stopping for a moment. It was around the thirty minute mark when the audience started to hold their breath as the movement did not let up and the flow and interaction of the dancers seemed to get even more difficult, and yet did not break or wane in precision. Corps de Walk boasts an international cast of talented dancers who were carefully selected from hundreds of applicants: the cream of the crop.
The music for the show was an eclectic and perfectly suited blend of David Byrne, Claude Debussy, Noize Creator, Aphex Twin, Tuxedomoon, Elemental Act vs. Our Scoring, Einstürsende Neubauten, Fumiya Tanaka, Lichtik, dirty Ol' Bastard, and Coil.
Eyal and Bachar also created the costumes for Corps de Walk. Dancing a piece like this is in itself difficult enough but these dancers had the added challenge of wearing white contacts that partially obscured their view. They not only had to have their routine down to a T but then had to be able to feel and sense the other dancers: their timing and spacing was captivating in its accuracy.
The dancers moved through their routine from section to section without stopping for a moment. It was around the thirty minute mark when the audience started to hold their breath as the movement did not let up and the flow and interaction of the dancers seemed to get even more difficult, and yet did not break or wane in precision. Corps de Walk boasts an international cast of talented dancers who were carefully selected from hundreds of applicants: the cream of the crop.
The music for the show was an eclectic and perfectly suited blend of David Byrne, Claude Debussy, Noize Creator, Aphex Twin, Tuxedomoon, Elemental Act vs. Our Scoring, Einstürsende Neubauten, Fumiya Tanaka, Lichtik, dirty Ol' Bastard, and Coil.
Corps de Walk will grace the Playhouse for two shows only. The show starts at 8pm but there is an interesting pre-show talk at 7:15pm so make sure you come early.
It could not be more timely to support the arts. The Norwegian government clearly sees the value in the arts by supporting them 100% financially. With any luck, successful companies producing extraordinary shows like this may hold potential to influence our own government of the value of our own gifted artists.
It could not be more timely to support the arts. The Norwegian government clearly sees the value in the arts by supporting them 100% financially. With any luck, successful companies producing extraordinary shows like this may hold potential to influence our own government of the value of our own gifted artists.
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