ADT: Proximity -
Playhouse, Arts Centre Melbourne, 16 August -
Garry Stewart's 2012 work for Australian Dance Theatre delivers a lot to enjoy, consider and question. Proximity is an unrelenting, high-energy dance work that interconnects eight dancers who explore physical and conceptual languages through and beyond their bodies. This is mediated through live video manipulation.
The live dance is enacted in the foreground of the stage, while a triptych of huge video screens captures the vertical space and dominate the horizontal plane behind them. It is here that action from the stage is projected. Throughout, an ever-present video camera becomes another pivotal element in the texture of the whole. Dancers leave the group to manipulate the camera. They capture their own close-up images, which appear atomised, blurred or obscured. These images construct a frame through which dancers are seen by the lens. At times two cameras work effectively to show a dual perspective of front and side facets.
The dance creates a constant stream of fast-paced dialogue. Break moves provide the kind of highly dynamic rolls, spins and dives that create a breathtaking flurry of videography. As bodies collide and resolve into separateness, visual constellations are revealed and dissolve on screen. At other times, a bird's eye view is deployed, giving a different perspective to the patterning. Variations in camera speed are also used - slow motion, stop motion and increased speed all act to change perception of the live movement.
Angular phrases or physical stutters leave contrasting traces for the camera to play with and as Proximity develops, an almost exhaustive exploitation of videographic repertoire is mined. While there is a lot with which to engage, and plenty of dance content, the question arises as to whether the use of video is excessive. Does it amplify or does it nullify the dancers' presence?
The attack and percussive nature of much of the choreography is very enjoyable. The dancers are visceral and athletic, managing as well to convey refinement. What is lacking is the pause; the space to contemplate and digest the dance. Sections are punctuated by dancers walking on and off but no significant changes of pace register. The rhythm changes occur within dance phrases as a kind of closed loop rather than between sections. This is further driven by the constant, looping soundtrack.
Rare moments when the screens are used as colour blocked back-drops act as a visual release from the busy movement. Then the dancers can be appreciated for their raw skill and artistry.
Proximity leaves a strong visual imprint. The persistent impression is of colour and motion. However, there are questions to ask about the decision to layer so many visual, conceptual, technological, neurological and semiotic ideas into one work. Stewart and his collaborators (both artistic and technical) have achieved an arresting work but perception is a complex cognitive manoeuvre and all its components need not be explored simultaneously.
Proximity is an exercise in what videographic effects can do to enhance and, at times, detract from a danced work. It is also, sometimes, like watching a concept enacted through dance. These are the moments that do not resonate so strongly.
SUSAN BENDALL