Nóra Bükki Gálla
The architect’s eye looks for the mechanism that makes things work, the structure behind the form. In a performance that connects theory and abstraction with the reality of the stage, Filiz Sizanli attempts to show us how the conventional usage of stage space can be challenged, while playing with the interchangeability of dimensions. Drawing a parallel between dynamism and stability, science and art, we find new ways to explore, analyze and describe motion.
From what we see it’s quite obvious the choreographer did her research, but this scientific thoroughness becomes more and more of a barrier between her and the audience; a wall that we find hard and laborious to climb. Lying on the floor in a sitting-like position, gesticulating, crossing and uncrossing legs makes the movement two dimensional and places it in a strange concept of flatness, while bouncing a tennis ball to explore the third dimension of height is interesting, still way too didactic. When we finally mount the wall of concepts, and sit panting on the top, we find ourselves gaping at a second one behind it. Walls and walls in all directions.
If the choreographer’s intention was to create a labyrinth, we might as well have entered in a different level – or in the worst case, might have brought our mountaineer equipment. Presenting abstract theories on stage is definitely a dangerous venture. Especially if these thought constructions lack a proper base –if you do that in architecture, your building will crumble and fall. And the client won’t be happy with that. Since architecture (art?) is about pleasing the client (is it or is it not?) we may as well build good houses instead of praying for the ivy to grow and hold it together. That’s a different profession anyway.