Death is not the end
Was clearly present in my reactions to the three pieces of theatre I saw at Birmingham’s BE festival.
But was this solely from the position of the first:
produced by sineglossa: http://www.sineglossa.eu/index_en.asp
choreographed/directed: Federico Bomba
Performed by:Simona Sala
or was it its quality that made me see the same in the other two?
For clearly the second was as much about death as the other two. But it was death on a scale, death given the vitality of children.
Each scattered “predicition” of the future, for music or dance performable by one of the children, was simply one creation put out to end a little further. A little life, celebrating the vitality of is, post-poning death.
It was the lady of Remember Me raising up her hand on the opening, an audience and a thundrus applause.
The third, the last I saw, Observe how Tiredness defeats the Thought, by El Conde de Torrefiel, demonstrated its theme pertinently. The thought’s representation, was at first musical, then visual, as a basket player, then 6, or the ball or hoop. The thought, the person, collapses with the end of its self-contained show, the exuberant marching band forced into quietness, then a recorded female voice into conversation with male recorded voice.
The self-reflexive assaulted on the edges, leads the thought to drag on and, in a sense be “defeated” by tiredness. But thoughts are more fractured in the interior by the exterior, the domestic than this play captured.
As in the corner of her room, the audience go, and the lady’s mirror and light float away from her. Her interior assauled by exteriority, which she must, with the fading light, broach find against in the writhing flickering dance to the variation of Purcell’s Aria. And he dies, alone in the corner of the room, a narrowness trying to show all the feeling therein.
a sociable rat
what rat-like joy feels the rodent,
leaping to a starry pavement