Compagnie Maguy Marin
Thur-Sat, OCT 10-12
“Spellbinding, nerve-racking, and a thing of beauty.”
–New York Magazine
Running Time of Salves: 70 Minutes Without Intermission
DANCE WORKSHOP WITH COMPAGNIE MAGUY MARIN
Friday, Oct. 11, 11am-1pm
918 SW Yamhill, 4th Floor
To reserve, email info [at] conduit-pdx [dot] org
Special Note from Co-Founders Walter Jaffe and Paul King: "This is one of the most surprising works we have ever seen. To those of you who see Salves on the first two nights, please do not give away the ending."
Maguy Marin is unquestionably one of the most important and provocative choreographers working in Europe. With Salves, she has created a rollercoaster of a work that leads the audience through a journey of darkness and light, of mystery and suspense - and outrageous humor. Filled with one surprise after the next, Marin’s highly theatrical piece conjures up Rod Serling’s famous introduction to The Twilight Zone, “You’re moving into a land of shadow and substance, of things and ideas.” To reveal more about Salves would be would be unthinkable.
There has been much written about Salves in the European press--here are some excerpts. We look forward to hearing your responses!
Salvos of Bravura
From Libération, by Marie-Christine Vernay,
Salves is a piece about commitment and affection, even if it depicts breakup and discord... In complicity with Denis Mariotte, Maguy Marin signs a wrenching poem, and suddenly takes on the role of a magician. Bodies disappear into the chasm of a table, darting into the void, bewildered, stupefied, mechanical. And then suddenly, with clairvoyance, they diffract beauty, fulfilling our hopes...
In an interview with the philosopher Bruno Tackels, the choreographer evoked this determination that she stages so well, “giving voice to a poetic language has now become something intolerable, laughable or pretentious, for most people a scandal.” Well, so much the better if Maguy Marin creates a scandal with Salves, a work that is urgent and desperate, but not defeatist. The quantity of work is stupefying, precise to the nearest millimeter, to the nearest second."
From LE MONDE,, by Rosita Boisseau,
"Maguy Marin didn’t title her new work Salves – Salvos – for nothing. Repeated shots, loud explosions, the stage resembles the shattering of the 21st century, with its hordes of barely recognizable humans and its icons, into a thousand pieces. Liberty, the Republic, “beautiful dance”... give way to Pablo Picasso’s Guernica. Maguy Marin’s missiles have reached the audience, who welcomed this masterpiece by the choreographer with long – very long – applause… The structure of the performance, solid but repetitive, as often with the choreographer, here takes on a rare scale. The system of flashed apparitions, exacting to the nearest quaver, with the impact of the irruption of a nightmare. The small mobile scenes, the unpredictable attacks by dancers from every corner of the stage, sustain the anxiety… Quite cinematographic in its nervous energy and its montage, Salves can also be read as the staging of a spirit haunted by traumatic images… a manifest work, Salves magnificently gathers together the talent of Maguy Marin. It unites an extreme practical knowledge of the stage (space, architecture, lighting…), the science of visual and musical rhythm and the sense of theatricality, all armored with steely intelligence. Maguy Marin knows what she wants and finds the means to send the message, without detouring into the simplistic or demagogic. Political in the strongest terms, this piece sounds the alarm to a sick world, where rage still wins the day over despair."