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Huom! Poistunut ohjelmistosta!
(re)use is the third, independent part of Kenneth Kvarnström’s dance trilogy.
Idea and choreography: Kenneth Kvarnström
Costumes: collage
Music: collage
Lighting design: Vesa Ellilä
Dancers: Kenneth Bruun Carlson, Sofia Karlsson, Kai Lähdesmäki, Janne Marja-aho, Terhi Vaimala
Photos: Sakari Viika
The viewer is allowed to watch For once, Elsa at the Helsinki City Theatre, which has been converted into a gallery space, succeeds in bringing dance close to the audience. To conclude his term as director of Helsinki Dance Company, Kenneth Kvarnström will recycle parts of his previous work and add something new to the mix. (Re)use is the third part of a trilogy that explores the roles of the performer and the spectator. In the work, the viewer enters the world of dance through the space: the audience is directed to a rather narrow room where props related to the choreographer are on display. Strange figures walk among the audience, and a dancer in a black lurex costume emerges from the display case. Suddenly, the curtains that were on one wall of the space are opened and the lurex dress moves to the other side. You have to go after him.
Lue lisääHelsinki City Theatre – (re)use The Elsa stage of the Helsinki City Theatre has been decorated as an art gallery in choreographer Kenneth Kvarnström’s new (re)use. According to the name, which refers to reuse, the dance material is largely old material that has been tuned up to be new. The City Theatre’s dance group HDC empathizes and makes an impact. The audience walks around the space, as is customary in a gallery. This time, the artworks are people walking among the audience. During the dance, which requires space, the audience sits on the chairs on the walls, but everyone is asked to change seats from time to time. Kvarnström wants to create a personal experience for each viewer. No one else sees the work from the exact angle where I happened to sit. In addition, the curtain that sometimes closes between the viewers concretely prevents you from seeing what is happening on the other side. Of course, it’s hard not to peek at the curious, and the curtain feels like a little teasing. The Elsa stage has plenty of space for dancers, spectators and a few sets. Some of the clothes needed for the performance can fit on the stage. And, of course, a glass cube in which the dancers sometimes dance. So there is more space, than usually in galleries where dance shows are performed. Breaking the stage space works in a way. However, the hall is a performance space, not a white-walled, bright gallery. The black walls intensify the atmosphere, and Vesa Ellilä’s lights guide the gaze. When the spot lights up on the floor, the spectators sitting in it urgently know to move further away from the dancers. However, the best thing is the opportunity to see the dancers up close, on the same level. Their charge hits you directly when you sit almost within touching distance. The dancers don’t seem to be affected by the special space, at least not negatively. They empathize and dance in earnest.
Lue lisääRecycled choreographyKenneth Kvarnström will present his old works in his last premiere (re)use. The stage space has been transformed into a dance gallery, where the audience is kept on their toes throughout the evening.
Lue lisääKenneth Kvarnström recycles his past works in his farewell book Kenneth Kvarnström’s (re)use contains pieces of familiar works, but recycled material does not create a nostalgia trip to the past. (Re)use is a completely new work. It is an intense journey into the heart of art-making and dance, a tribute to the many artists who contributed to the completion of the dance piece. It highlights details. At the same time, the viewer gets to take a journey into the depths of their own mind.
Lue lisää(re)use seals the contemporary dance trilogy in style Choreographer Kenneth Kvarnström’s farewell work (re)use shakes up the viewing experience.“What was it? asks a spectator heading towards the edge of the hall in front of me, as he is about to trip over something lying on the ground. “It’s a leg! commented his friend. Really, it’s a leg. And even a goat’s leg. A stuffed horned head sits in the corner of Studio Elsa, twisted into a strange position. That is the beginning of the wonder that is on offer for the next hour and a half.
Lue lisääThe Kvarnström mill is a functional mix of old and new Kenneth Kvarnström’s farewell piece for the Helsinki Dance Company ( re)use , as the name suggests, had a lot of familiarity, but also a new look. Although visuality has always been an important and significant part of Kvarnström’s works andEven this time, it was downright toyed, the absolute center and starting point of the performance was movement. And not just any movement, but an articulate and technique-demanding physical dance movement that flowed strong and sensitive, with big curves and small nuances all the way to the fingertips of the body. The theme of the performance was recycling, which meant the use of scenes or movement materials from previous works, but recombined and in costumes taken from completely different contexts. When the whole was mixed with a completely new material, the result was a kaleidoscope with a tantalizing mixture of familiarity and strangeness. It must be said, however, that watching the performance does not require a modicum of knowledge of Kvarnström’s earlier works. It is a work that proceeds with its own logic, assembled from scenes that are separate from each other, and works as it is.
Lue lisää“The flow of changing details is as surprising as life: simple and contradictory, bare and full of props, happy and sad.”
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