Review: “L’Association Fragile: b.c. janvier 1545, fontainebleau” Conceived, choreographed, set and costumes by Christian Rizzo. Original music by Gerome Nox. Lighting design by Caty Olive. Performed by Julie Guibert and Christian Rizzo. Now through October 10 at On the Boards.
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| Christian Rizzo and Julie Guibert. Photo by Marc Domage |
Performance art is a mystery that is best left unsolved. You have to be open to experiencing it and not worrying about “what does it mean?” Frequently, it doesn’t really mean very much so you might as well just sit back and feel the emotions being evoked/provoked. That’s my advice for seeing/experiencing Christian Rizzo’s new dance/theater piece, “L’association fragile” at OTB. I’m sure there is a lot of meaning, (or, maybe not) behind this work but my advice is to let the sounds, or lack of them, and the images, shapes, colors and patterns of light wash over you. If you do, you’ll be rewarded with a mesmerizing theatrical experience; a waking fever dream of sound, light and fury.
The curtain opens on a white box. A couple dozen small, votive candles randomly spaced on the floor. Hanging from hooks/chains descending from the rafters are 7 totemic items, vaguely representative of ceremonial costumes or items of idolatry. There is a long, rectangular, wheeled table/cart at the back of the stage. There is a man, casually dressed, with a belt of worry beads around his waist that clank when he walks. He is wearing a demented looking rabbit mask, a la “Donnie Darko”. He walks around the stage and observes and finally notices a woman, laying supine on the table. She rises off the table and she begins to move about the stage, tentatively at first, and taking classical dance positions and poses. Rabbit man observes then begins picking up the candles off the floor and taking them to the now empty table and arranging them on it. There is no sound at all, save the clanking of the worry beads around his waist as he moves. Neither speak. Tableaus are formed and small vignettes played out. Eventually, music is introduced; very loud, industrial, violent music. Things get…intense. You almost expect the stark white walls to be splayed with blood; the intensity seems to demand it. The nightmare, or the dream, if you prefer, ends. And, like most dreams, you’re left a bit disoriented and unsure. What, just happened? Did it mean something, or was it only a dream, a fragment of the subconscious? Or, is it just arty noodlings with cool lighting and noisy industrial music? Art is in the eye of the beholder…you decide.
Shout-outs to Caty Olive’s evocative, powerful and frequently terrifying lighting design…it recalls creepier moments in the films of David Lynch. Gerome Nox’s music is powerful, LOUD and electronically vibrant. I liked it; others in the audience held their hands over their ears during the loudest and most intense moments. I’m not sure if that was a comment on the quality, or the volume. It IS loud…be prepared.
Who’s this for? Lovers of modern dance and performance art. David Lynch types. Electronic/Industrial music fans. OTB season ticket holders and Cornish graduates. Who should stay away: if you aren’t into modern dance and abstract performance pieces. Folks with sensitivity to loud music/noise. The ghost of Jesse Helms.
– Michael Strangeways
