A dance for the tree gods

Nothingbutsilence

MYSELF my forest: Nicholas Aphane in footage from With Nothing But Silence. Photograph courtesy Forgotten Angle Theatre Collaborative.

IN 2005, PJ Sabbagha put his choreographic name behind a most exceptional project. Still Here was earth shattering in its delicate sense of raw beauty and was important for that reason. But as an advocacy piece engaging with HIV/Aids, it was important for other reasons too. Over the years, Sabbagha and his company the Forgotten Angle Theatre Collaborative have unrelentingly challenged boundaries in terms of issues and aesthetics, possibilities and the substance of dance. This work, With Nothing But Silence They Turned Their Bodies To Face the Noise is no different: structured with the complexity of videoed work, shadow and articulation through costume and context, weeping and filmed trees, it confronts the sticky and grotesque mess that our planet is in. It is an extraordinary piece of performance, for our time.

Melding together dance with hand drawn dance costumes, Greek extrapolations with a soundscape that touches water and wind, landscapes and trees, it takes place in a set that is transfixing in its detail, astonishing in the sum of its parts, and the sense of authority commanded by Mazarakis. It is here that a hat of flowers takes on virtual sinister attributes, that bodies move like mercury, curving against one another, casting the light in a way that gives voice to shadows that dominate and liaise with the visual clout of the piece.

Like Still Here, it’s a complex, almost abstract work with forays in a range of directions, and during its 60 minute duration, you get the urge to shout “Stop! I didn’t see exactly what that was! Do it again!” Many things happen at once in this work which takes you from the magnificent bluegum trees of Mpumalanga to the here and now on stage. You see dancers emerging from piles of leaves and sheets of crumpled paper, engaging the world with its brokenness. The sound track is bumpy with pimples in the technology and the give and take of movement coheres uncomfortably with that of the sound, forcing the dancers over terrain which is as tough and unsettled as the world they’re depicting. The dance work is twisty and inchoate and offers a unique language of movement, which distinguishes it and grabs you by the eye, again and again.

And all too soon, suddenly it is over, leaving you with a sense of loss: the work’s structure is repetitive and patterned, rather than chronological. You’re sucked into its dynamics and find yourself mesmerised by bodies contorting themselves into torn and emotive positions, by dancers who shout, shouters who dancer, and a collaborative mix which leaves your heart uneasy and your mind racing. More’s the pity that the work only had a single performance in this year’s Wits 969 Festival.

  • With Nothing But Silence They Turned Their Bodies To Face the Noise is directed by Athena Mazarakis and choreographed by Athena Mazarakis and PJ Sabbagha in collaboration with the cast. It features creative input from Nicholas Aphane (Music/Sound score/Composition and performance); Sasha Ehlers (production and costume design); Thabo Pule (lighting) and Jessica Denyschen (videography) and was performed by Nicholas Aphane, Nomfundo Hlongwa, Francesca Matthys, Athena Mazarakis, Shawn Mothupi, PJ Sabbagha, Oupa Sibeko and Lorin Sookool on July 15, in the Main Wits Theatre as part of the Wits 969 Festival, Wits University. Visit webtickets.co.za or visit Wits 969 on facebook.
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Hypocrisy’s crowning glory

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A heady mix of irreverence, theatricality placed in a set simple in its magnificence, that is ramped up all the way and features contrivance pushed to the giddy hilt, Tartuffe is a tightly focused, beautifully choreographed tribute to Molière, which indulges in such an array of over-the-top shenanigans, you become embroiled in the madness and don’t want it to end.

Featuring actors physically large and small, from Vanessa Cooke as the maid Dorine to Neil McCarthy as Orgon, the beguiled father of the house, it’s an impeccable celebration of overstated gesture, eavesdropping and intrigue in the face of utter unabashed hypocrisy. A tale which enjoyed credence in the 17th century, it remains remarkably prescient in contemporary culture: Tartuffe (Craig Morris) is the charlatan smarmily secreted in the church’s moral values for his own benefit. He slips into the confidence, the heart and the intimate family values of Orgon, to almost devastating – but utterly hilarious – effect. But fear not, there’s a grim and sinister twist in the tale that lends it a devilish tone.

There are some strange anachronisms in the language:  the work was originally written in rhyming couplets and has by and large been translated as such in this version. This is a quality which sometimes causes the flow of the poetic metre to stumble and feel uncomfortable. Nevertheless the couplets that do work and the clarity of their articulation will hold you focused and keep you staving off your own laughter, because the hairpin turns of the plot need to be heard to be properly appreciated.

Capitalising on the physical attributes of her cast, director Sylvaine Strike works like a true caricaturist, making the simple gesture of walking up three steps into a sonata, and the act of crossing one’s legs a sonnet.  Indeed, Madame Pernelle, played by Morris is virtually all mouth, and her presence evokes Lewis Carroll’s Queen of Hearts, to excruciatingly funny proportions. Monsieur Loyal, the lawyer, played by William Harding, takes immoderate to another whole level with his size, his sausage and his utterly ingratiating quality which might call up characters such as Dickens’s Uriah Heep, in your mind’s eye.

The music, which represents a pastiche of sound and tunes from the 1920s, is, however, too heavy handed in its approach and it does tend to crush the scenes it infiltrates, jarring and bouncing off the venue’s walls at times. The heaviness of the sound is balanced with acuity with the madly flexible bodies of the cast, however, and this tale of hypocrisy and love, sex and trust is something you wont want to drag yourself away from.

  • Tartuffe is written by Molière, translated from the French by Richard Wilbur and directed by Sylvaine Strike. It features creative input by Sasha Ehlers and Chen Nakar (set), Sasha Ehlers (costume), Oliver Hauser (lighting), Dean Barrett (music composition) and Owen Lonzar (choreography). It is performed by Adrian Alper, Vanessa Cooke, Khutjo Green, William Harding, Vuyelwa Maluleke, Neil McCarthy, Craig Morris, Anele Situlweni and Camilla Waldman at the Fringe, Joburg Theatre, Braamfontein, until June 25. Visit tartuffe.co.za