Sylvie Guillem: "Life in Progress" –
Drama Theatre, Sydney Opera House, 19 August -
Nothing lasts forever. In many ways all professional dancers, no matter how talented, are living on borrowed time. If you are lucky, you make the decision to leave on your own terms, dancing in a role or a show that is meaningful to you and in that sense Sylvie Guillem’s final world tour cannot be anything but successful. Love her or loathe her, this strikingly independent and intelligent artist with her extreme physicality has shaped our conception of what a 21st century ballerina might be. Her incredible flexibility paired with an equally high level of musculoskeletal control, preternaturally elongated limbs reaching away from her body’s centre in opposing curves that are somehow, aesthetically, perfectly balanced... this is the image that remains.
In this program of four short works (two duets and two solos) Guillem performs in three out of four. William Forsythe’s DUO2015 was well danced by Brigel Gjoka and Riley Watts but was probably the least accessible work. While interesting from a purely intellectual perspective it suffered by being the one work in which Guillem did not perform, in a program that was ostensibly all about her - or was it? In the curtain call for Russell Maliphant’s Hereafter Guillem pushed her duet partner Emanuela Montanari forwards to share equally in the applause. There was nothing of the “diva” here, just the simple and genuine acknowledgement of an audience who had come primarily to see her and let’s face it, if there is anywhere appropriate to indulge in a little diva behaviour your own worldwide farewell tour has got to be right up there!
In Akram Khan’s Techne there was something animalistic and predatory in the way Guillem moved through space. She was completely in control yet there was no visible tension – her mastery of technique enabled the illusion of abandon.
By way of contrast Mats Ek’s Bye gave Guillem the opportunity to explore a delightfully eccentric character as the “retired” ballerina gently, poignantly mocking her perceived persona. The curtain opens on a stage empty but for a single door upon which is projected Guillem’s face in black and white. Up close, she seems to peer at us through the door as a giant might look through a keyhole before moving into the distance and returning life size. There is a wonderful moment of transition, just as Guillem’s projected image attempts to climb over the doorway so the real Guillem appears and her performance begins. Full marks must go to Mats Ek for the concept as this was by far the most powerful work of the night and a wonderful conclusion.
It is interesting to consider to what extent Guillem has used her own considerable fame as a platform for commissioning and touring new choreography over the last decade. Only time will reveal whether works choreographed for and around her will go on to be performed by other dancers following her retirement.
- GERALDINE HIGGINSON
Top photo: Sylvie Guillem in Akram Khan's Techne. Photo: Bill Cooper. Below: click on thumbnails to see photo captions and credits.