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DANCE REVIEW 05/01/07 LA NACION

By MARTA AVILA

 

Intertwined images. Addition.

The integration of languages was done with quality.

(Picture caption) Collective. For Stalking the Sublime, three artists settled in Pittsburgh, united their talents around the music of Franz Liszt, obtaining as a result, an interdisciplinary performance.

 

Three disciplines came together to give life to the performance titled “Stalking The Sublime”: Dance, music and video. Responsible for this staging were US Dancer and Choreographer Elsa Limbach, Ukranian Pianist Taras Filenko and the Bulgarian Cinematographer Kamen Bonev. Together they are Ensemble Palimpsest, a group that creates the space where to convey  the efforts of independent artists to create interdisciplinary productions. This is the first time that the cast of Palimpsest performs in Costa Rica. They did it with the music of the Hungarian Franz Liszt (1811-1886), as the main text.

The piano works of this composer of the romantic era unified the scenic proposal.

 

Stalking the Sublime consisted of two parts. The first section featured seven short compositions among which were Hungarian Rhapsody 11 and Elsa’s Dream of Wagner, transcription of Liszt and other Taras Filenko’ interpretations were highlighted. The second part of the program was the virtuous and emblematic Sonata in B Minor.  In Stalking the Sublime the three arts are in function of the concept of the whole performance, without aspirations for apotheosis or pretensions, instead austere and with some drops of humor. It was pleasant to feel the flow from one scene to the next, and when the movements of the dancer’s body reflected the notes and accents of the music, all of it varnished by the screen full of images.

 

In the same way, we enjoyed the different sources from where the corporal actions of the performers came from.  An interesting detail of this work was the segment where there appeared on stage several corners of San Jose captured by the lens of Bonev. He captured faces and actions of pedestrians together with architectural details of our capital city and images of the tropical Flora which became the background sets or décor for the play.  Stalking the Sublime counted wit an adequate lighting and the costume design was in accord with the presentation that lasted almost two hours.

 

Evaluating the weight of each participant’s contribution I enjoyed most the quality of the visual imagery, because its composition and the framing never felt reiterative nor was it a limited language, on the contrary, Bonev constantly gave us unedited angles of the characters: dancer, pianist and piano.  Ingenious was the entrance on stage of the videographer and his camera and fascinating the treatment of nudity during the images of the Sonata in B minor.  In the interpretation aspect, Taras Filenko showed his technical dominium, virtuous in the Sonata and playful in the first part of the show, aspect that could be improved with some more physical work from the pianist.

 

On her part, Elsa Limbach was precise in her execution but in the choreographic composition we saw some spatial drawings which in some cases didn’t complete the fusion with the other two languages.

Nevertheless in this proposal it is evident the investigation and the professional approach over which they based their work and it shows a serious path of development towards the integration of artistic disciplines achieving a very agreeable result.