Is there wherever else you’d discover slapstick and Botticelli’s Venus sharing the identical stage, a brooding Minotaur and a lady sandwiched in a camp mattress prefer it’s a mouse lure? Not to mention a (pretend) child torn from the oozing gloop of its amniotic sac who then sits up and waves to the viewers. All this stuff dwell collectively on this planet of Greek choreographer Dimitris Papaioannou, a grasp of contradictions. He’ll create elegant tableaux after which puncture the second with absurdity; and cross magnificence with disgust, marvel and comedy.
Papaioannou has been honing his imaginative and prescient because the Nineteen Eighties, drawing on effective artwork and Greek delusion, humour and optical phantasm – two dancers combining into an unique beast, for instance, legs and heads seemingly pointing within the unsuitable instructions. The title Transverse Orientation apparently refers back to the mechanism by which moths all the time level themselves in the direction of the sunshine. We don’t know what drives Papaioannou’s dancers, they’re flesh and blood (a lot of flesh), however primarily uncooked materials for Papaioannou to sculpt with: six males and the serene Breanna O’Mara, who along with her lengthy auburn hair seems like she’s stepped out of a Renaissance portray. There’s additionally an imposing and really life like black bull, a puppet that nearly steals the present.
What’s sure is that Papaioannou is exclusive in what he does, the painterly precision of his set items, the sudden magical transformations. Some scenes unfold slowly, quite a lot of downtime between the revelations and extra course of than strictly essential. This piece doesn’t really feel as wealthy because the final work he dropped at London’s Dance Umbrella pageant, The Nice Tamer, but it surely concocts some really arresting moments.