SOMETHING ABOUT WILDERNESS - AND SEVERAL ATTEMPTS AT TAMING BEAUTY
"Something about Wilderness speaks of the inevitability of time passing and of the inevitability of change.
It speaks of a tug between the wild and the civilized."
”very, very beautiful”
Sydsvenskan
”The costumes are wonderful with well thought out details. A leather jacket has embroidered flowers and animals, a brooch adorns a sweater, a fur has a fantastic, colorful lining. When the naked dancers put on the clothes again, they change each other, transforming the costumes into something new and becoming part of the transformation process in the show”
Skånska Dagbladet
”Everything is incredibly beautiful”
Kulturnytt, SRs P1
Choreography: Melanie Demers and Laila Diallo
Garden and foyer scenography: Carola Wingren and Karin Svensson
Music: Jéan-Sébastien Côté
Costume design: Kasper Hansen and Sophie Bellin-Hansen
Lighting Design: Guy Hoare
Dancers: Hazuki Kojima, Camille Marchadour, Peder Nilsson, Yiorgos Pelagias, Kristian Refslund, Riccardo Zandona, Jing Yi Wang, Maria Pilar Abaurrea, Clara Olausson, Erika Poletto, Sarah Bellugi-Klima
The parking lot outside Skånes Dansteater was transformed into a secret garden encompassing 900 m2 with 2 500 perennials and 400 bushes and trees. The dance performance Something about Wilderness and several attempts at taming beauty stretched from this temporary green room, through the foyer into the belly of the theatre and beyond to the scene dock.
The ten dancers moved through these spaces and underwent several costume transformation. The costume outdoor balanced between ideas of the wild, fragility, camouflage and animal decoration. It referenced an already past moment of the now. Numerous details in print, embroidery, application and linings were all possible for the audience to discover as the dancers performed right amongst them.
Within the theatre a slow ritualistic undressing grew in intensity and speed and left all dancers naked but one wearing only a sock. All layers of the costume were revealed from outer garments to underwear and spread across the vast mint green coloured floor.
From this point the naked dancers mixed and matched each other’s items and found new combinations that kept changing through the rest of the piece. Always underlining and occasionally shaping choreographic moments, while continuously keeping the feeling of being fleeting, accidental and ever shifting.
It was integral for the creation of the piece that the costume became an organic part of rehearsals. It allowed us to overcome the practicalities of garment swapping, cross-dressing and fully visible costume changes on stage and made these a fully integrated part of the work.
