рецензия Helsingin Sanomat, Танцующая башня
review
Helsingin Sanomat - Jussi Tossavainen
Wild dance explains the world
Aurinkobaletti’s anniversary production is a dizzying spectacle of senses.
If you need to celebrate simultaneously Turku’s year as the European Capital of Culture and Aurinkobaletti’s 30th anniversary, you better celebrate properly. You need to invite the trusted guest, Russian Sasha Pepelyaev over, and you know you won’t get anything boring.
Dancing Tower in Logomo is an extraordinary, insane spectacle, after which the viewer feels dizzy - a magnificent thing, but what was going on? Having seen several works of Sasha Pepelyaev, I could instruct a first-timer: do not try to understand, just open your mind, let yourself go with the free flow of associations and enjoy.
A ten metre high building, that could be a part of an ancient factory or a nuclear plant, has been built on Logomo’s grand hall. The action happens simultaneously on different levels. The experience of watching is at least three dimensional if not astigmatic. At some point they hang between levels, as in a limbo after death.
Dancing Tower is an allegory of the universe. It is a pepelyaevian explanation of the beginning of life and its development from war to eternal peace, a lullaby of a Giant Mother. Captain directs everything with the gestures of a conductor. May he be called Operator or God.
Pepelyaev’s earlier works for Aurinkobaletti’s studio stage have brought the audience close to the dancers. With Dancing Tower it’s all about imposing grand hall aesthetics. There is smoke, boom and terror, and also the gestures need to be large and exaggerated.
Besides Captain, also Imagination, Artist, Beauty, Exploration and Experiment affect the scenes. It reminds me of Marc-Antoine Charpentier’s allegoric baroque opera Les arts florisants, where various personificated arts battle each other.
Compared to Pepelyaev’s other works this has plenty of pure dance and movement, which doesn’t mean that there wouldn’t be plenty of everything else as well - amazing constructions and machines like straight from Leonardo da Vinci’s table and nightmare visions that remind me of Hieronymus Bosch’s works. These beat even Jorma Uotinen’s strange orchestrations.
Jaw-dropping cuts from sublime to everyday to pompous to comical guarantee a viewing pleasure.
Helsingin Sanomat - Jussi Tossavainen
Wild dance explains the world
Aurinkobaletti’s anniversary production is a dizzying spectacle of senses.
If you need to celebrate simultaneously Turku’s year as the European Capital of Culture and Aurinkobaletti’s 30th anniversary, you better celebrate properly. You need to invite the trusted guest, Russian Sasha Pepelyaev over, and you know you won’t get anything boring.
Dancing Tower in Logomo is an extraordinary, insane spectacle, after which the viewer feels dizzy - a magnificent thing, but what was going on? Having seen several works of Sasha Pepelyaev, I could instruct a first-timer: do not try to understand, just open your mind, let yourself go with the free flow of associations and enjoy.
A ten metre high building, that could be a part of an ancient factory or a nuclear plant, has been built on Logomo’s grand hall. The action happens simultaneously on different levels. The experience of watching is at least three dimensional if not astigmatic. At some point they hang between levels, as in a limbo after death.
Dancing Tower is an allegory of the universe. It is a pepelyaevian explanation of the beginning of life and its development from war to eternal peace, a lullaby of a Giant Mother. Captain directs everything with the gestures of a conductor. May he be called Operator or God.
Pepelyaev’s earlier works for Aurinkobaletti’s studio stage have brought the audience close to the dancers. With Dancing Tower it’s all about imposing grand hall aesthetics. There is smoke, boom and terror, and also the gestures need to be large and exaggerated.
Besides Captain, also Imagination, Artist, Beauty, Exploration and Experiment affect the scenes. It reminds me of Marc-Antoine Charpentier’s allegoric baroque opera Les arts florisants, where various personificated arts battle each other.
Compared to Pepelyaev’s other works this has plenty of pure dance and movement, which doesn’t mean that there wouldn’t be plenty of everything else as well - amazing constructions and machines like straight from Leonardo da Vinci’s table and nightmare visions that remind me of Hieronymus Bosch’s works. These beat even Jorma Uotinen’s strange orchestrations.
Jaw-dropping cuts from sublime to everyday to pompous to comical guarantee a viewing pleasure.