"Qu'est-ce qui nous arrive?!?"

FIRST WRITE UP

The individualities presented by master group works such as Maguy Marins May B, Anne Teresa De Keersmaekers Achterland were clearly a goal in this new work by Mathilde Monnier. In these pieces there is a need for individual initiatives, characters perhaps, but INDIVIDUAL characters. In this modern day scramble to get away from the classical regime that pushes out the unique and special in order to technically homogenize, choreographers have been adopting practice that are not necessarily a true desire or artistic value. This I felt to be evident while watching "QU'EST-CE QUI NOUS ARRIVE?!?". I didn't believe for one second that Monnier CARED about presenting these individuals own stories of coming to and through dance. No, the only thing that was communicated to me by this method was her own ego, using these people merely as tools to advance her name as a "humane" choreographer. The way she compacted their participation into specific modules possibly only specific to herself. The opening image was stunning. I was blown away by firstly the theater and stage, and secondly the way the first person just took a leisurely walk out, chose a spot downstage right, facing very specifically on a slight diagonal to the right, and then just started to lean. it was a youngish woman, maybe mid twenties. A fit, small body, bright green shirt, short cropped hair. Nothing that gave away that you would soon see a variety of types of people make that same leisurely walk, choose just as specific of a spot for themselves (maybe upstage far away from the others, maybe directly behind one person, close enough to breath into their neck). So this image developed . The slow addition of old, male, thin, young, fat, booted or barefoot. Each choosing a spot individually but facing in that same downstage right diagonal. And leaning, always leaning. the device becomes clear after the first person turns to a new direction and the crowd follows- they then by process of visual elimination choose a new leader to emulate in their leaning directions and timing. A slight sway, no one ever falling off balance, some leaders challenging their flock more than others, a particular lean held to the last moment of a swallowed breath. .staying far out into their lean for a few extra hyper extended moments and then relinquishing control by turning to a new facing, a new leader. So we sit and watch. and it is gorgeous. 30 people slightly swaying all in the same time and direction? all dressed in random pedestrian clothing (see? so individual that matthilde) how could i NOT want the rest of the evening to be vista after vista of visual satisfaction? (?? or SHE) needed to delve into the mysteries of the dancing life. I can imagine the beginning of a rehearsal. Everyone with notebooks and pens, she asks, "How did you begin, what was the first dance class you ever took, the first dance you ever saw performed, the first theater you were in?" These are typical questions not particularly controversial but for a social anthropologist, a dance educator or historian, even an inquisitive new comer, I can see the appeal. But for a choreographer working in the field for years and years…..well, its ok if you feel uninspired and have no new ideas. Im not saying its not (im not saying that doesn't happen to people and that its not ok.) Im just saying maybe give it some time- don't make the first trivial thing you start thinking about into an evening length work of insipid, kill me now, dear god when will this be over moments. Am I right? (or maybe its possible she thought this subject was new and interesting? aw.) It must be hard to be her. A huge complex of studios and theaters in southern france at her disposal. With a graphic novel published about her own minute life experiences and creative process. I can understand how the pressure to keep producing would get to you. It's just unfortunate that i had to witness it. (and unfortunate that it seems to keep happening again and again) I had to sit there and witness a vast, beautiful stage filled with random dance movements from days gone by…All these unique individuals expressing unique and individual and very VERBAL experiences at once. They would spread out about 4 or 5 at a time, the rest observing from chairs on the side. one girl kept repeating her story about creative movement class and pretending to be seaweed. of course she needed to demonstrate. great. One girl spoke about throwing a baton, demonstrated. There were ballroom movements, lyrical dancing, LOTS of ballet anecdotes of course. There were 2 or 3 mildly interesting performers but you forget- they weren't meant to be interesting - the entire piece in fact seemed to be createdto just that affect. (purpose). take the interest out of all of them and then you wont have to worry about which performer is possibly MORE compelling than the rest. homogenize the lot of them with these directions and questions and call it a day. But oh wait, didn't you hear what they were saying? they're all different. I swear. 

Huge sets are used to very little effect other than an initial existence. (an initial awe moment). yes, sometimes there was a stumbled upon image of gorging proportions (gorgeous i suppose) such as soap bubbles being lifted up and spouted out (soapera) but these images exist by themselves and are not balanced, challenged, or complimented by the action that takes place around them. She does not subvert a single expectation of the viewer but rather leads us through the most typical outcomes that could be had with these extraordinary set designs. Her dancers have thinly veiled egos and ideas of grandeur. its as if these people stumbled on this way of life and are now existing nicely within it. No change necessary. How very boring to watch. And how will she choose to ruin it is my only question? A black box full of floor to ceiling poles. How do the use them? They ignore. or they run into in an obvious way. two choices apparently. again- why does she- or perhaps this is where the magic of collaborating with a set designer is beneficial- dream up these elaborate sets only to relegate them into the lowest class of performer. 

REWRITE

Adopting practices that are not necessarily a true reflection of their artistic values. As the piece unfolded my patience faded. I stopped believing that Mathilde Monnier actually cared about presenting these stories of individuals finding their way through to the world of dance. Instead I was left pondering exactly how large her ego actually was. Instead I was left thinking of the six of her ego. She used the dancers,,, Whether we acknowledge it or not, there are choreographers who have been forced into this world of human rights, unions, and empathetic practices. 

The set-up: It begins with an advertisement.

"There are no special application requirements in dance or vocal background. Mathilde Monnier is looking for people who like dance and singing in general - whether they already have stage experience or more enjoyed to watch dance in the audience. All dancers are welcome as long as they aren't professional dancers. In the rehearsal process, the group will work on developing movement vocabulary, on forming a set of sequences as well as with the individual "dancer memory" of the performers. François Olislaeger will accompany the rehearsals and capture them in images."

BEGINNING OF PIECE. Describe the beautiful set up, the initial walk, and the breathless and suspended nature of captivating an audience. Then the disintegration into the mediocre and boring. The way that she approached a subject often tried and tested in such a banal way. The sight of silly people doing silly things. The way it turned from a higher art form into a cheap dig for laughs and attention. 

The blurb:

An amazing comic strip of the body and its often strange choreographies. Drawings can best capture the poses of bodies and their positions in space. Based on their intimate knowledge of human nature, comic artists can scribble the body into our perception in a new way. Since Louis XIV, attempts have been made to graphically “capture” dance in drawings, notations and with symbols. Now the renowned French choreographer Mathilde Monnier and the successful Belgian comic artist Francois Olislaeger tread new paths in a project that has caused a sensation. After their joint comic book “Mathilde. Danser après tout”, they have now developed a stage piece. In "What’s going on with us?!?" the performers are not dance professionals but people like you and me. Their joy of movement, their dance memories and personalities provide this danced version of a graphic novel with verisimilitude and immediacy.