Holding On or Letting Go - the beauty is in the simplicity of Emptiness: Floating Through Molasses
Review of Xiaoyi Tong and Jacob Gale at Dance City, Newcastle
Light Dark Float Sink Soft Firm Inflate Deflate Emptiness Floating Through Molasses
Xiaoyi Tong and Jacob Gale’s new contemporary dance theatre work begins with simplicity: 2 dancers, 2 balloons, 1 beam of light. Just like the balloons, one full of helium, rising to escape the black box stage, the other full of air, sinking gently to the ground, the dancers defy gravity and seemingly, the laws of physics.
Dancer Gregorio Dragoni prowls the dark space, manipulating Tong’s pliable body to fold, float, and fly through space, with daring partnering that indicates extreme trust and understanding. Tong’s incredible flexibility and control over her body allows a uniquely expressive physical quality, embodying varying states of tension to explore simple yet clear rules. Hard or soft, rising or falling, fluid or rigid. This is a work of clear contrasts, and through this limitation of concepts has come an innovative and visually stunning piece of dance.
In episodic format, the 55-minute work is well paced and continuously evolves, like scenes from throughout a lifetime. Each scene hones in on a particular idea; heaviness, journeys, struggle, and explores it to its fullest depth. Accompanied by a varied playlist which ranges from Sakamoto to Iggy Pop, there is nonetheless a sense of cohesion across the work as a whole, examining the deepest core of relationships and how we deal with our differences, with a careful balance of darkness and humour.
The movement exists in a clearly defined structural landscape, created by the striking lighting and digital art of Ke Peng, which again employs simplicity to great success. Often a single, bold beam of light is more effective than complex states, or the laser light which, although exciting, seems to belong to a different world than the rest of the piece.
Layered with this stripped-back clarity is an emotional shade that focusses on Dragoni’s role, originated by Gale, which offers glimpses into a troubled life. The character’s struggles are manifested through balloons and strings; swallowed, choked on, tangled round wrists and ankles, finally laid bare for all to see. Dragoni’s ability to shift between strength and delicacy adds a beautiful nuance to the work, his physical comedy and exploration of character providing intense bursts of light and dark, all grounded by Tong’s commanding presence in the space.
In a post-show discussion Dragoni explains his understanding that this is a journey of healing, and the narrative is cleverly woven throughout the work in a way that leaves plenty of space for audiences to reflect and relate in their own way, without overpowering the clarity of choreography.
The same post-show discussion makes many things make sense, as when meeting Tong and Gale to hear them talk about their work, there is an evident contrast in themselves as artists. Tong, drawing from a Chinese dance background, universal principles of space, lines, dots, dimension, is incredibly precise and passionate. Gale, drawing from Western dance theatre, character, detail, humanity and emotional depth, brings complexity and sentimentality. The whole is greater than the sum of its parts, and when coming together the pair strike a balance which, tipping either way throughout the piece, is ultimately harmonious. The result is that Emptiness is a work that is actually incredibly full; full of space, full of imagination, and full of emotion.
Instagram: @oemptiness
Beautiful reflection upon what sounds like a very interesting piece of dance theatre. Thank you once again Pagan for your meticulously crafted review.
Another exciting, detailed and comprehensive piece of writing Pagan.
Could the light, that didn't seem to belong in the piece, suggest a light from another world, which we cannot see?