New life into old walls. A review of Cie DMI Peregrination at Prieure de Ronsenac.
22/09/2014 § 2 Comments
I witnessed the calm but revolutionary energy of creativity yesterday at the wonderful Prieure de Ronsenac.
Every year French historic buildings open their doors to the public; Journees Europeennes du Patrimonie.
The title of the event was Peregrination and thus we were led on a journey through the monastery and asked to pause at several architectural significant rooms to experience short performances.
We gathered in the courtyard sun for the first where Michala Marcus performed an engaging surreal piece accompanied by the haunting strings of Albrecht Maurer. The acoustics and ambience were remarkable. Out of the rooftop beckoned a solo call on the cor de basset from Etienne Rolin. We were then led inside to a colorful and sensitive performance of dance and percussion by Michala Marcus and Didier Lasserre. Up the stone spiral stairs to a powerful duet with Kent Carter on the contra basse and Albrecht Maurer on violin. Consummate performers both electrifying and magic.
The final superb piece held in the vaulted cellar was a contemporary performance of dance, live improvisation and video projection by the talented Odile Pellissier. Using seven projectors the ancestral limestone walls came alive with conversations. The experience was a rich and pregnant one. Connotations emanated from the vibrant colors and interplay of historic and local content of the imagery.
As so much of our viewing experience today is conventional and prescriptive it’s exciting to come across a group of performers who are tapping into the unconventional. Cie DMI’s (Dance Music Image) performance awakens the passive viewer into an active participant alive to the exciting psychological space where liminality is exposed and conversations of light and sound travel across ancient space and time.
It’s exciting to see in rural France avant guard performers exploring the language and vocabulary of interaction, collaboration and improvisation with utter integrity, courage and professionalism, each inquisitive and sympathetic to their fellow performer. They are part of the contemporary discourse around new ways of working, playing and seeing. Lyotard was right when he prophesized the end of the grand narratives. Collaboration, experimentation and plurality of vision allow us to recognize that the old programme of mastering and possessing the single narrative flow is out of date. These collaborative ways of working also question the idea of being in control; here in Ronsenac images, movements and patterns of sounds generate new processes resulting in ever expanding connections, equivalents and meanings.
I was glad to be amongst such a creative lot.