ROVERETO. Cloaked in the reputation of an irritating and aggressive work (so much so that at its debut, in 2004, the public literally lashed out at the stage artists accused of not dancing) Umwelt, Maguy Marin’s work was presented in the first and national exclusive in the East West , nearly twenty years after its infamous first.
Late and backward debut? Or is it the confirmation of a theatrical power that transcends time and in its absoluteness confirms the poetic imagination of an author capable of observing the surrounding world and the flow of existence with sharpness and sardonic melancholy? Time will tell us if we are dealing with a ‘classic’, like now his May B. with whom, at the beginning of the 1980s, the former Bejartian Maguy entered the new post.expressionist dance theater at the beginning of the 1980s. in full bloom and posed a serious alternative to Pina Bausch’s emotional visionary.
However, it is already evident that Umwelt (Ambiente), filmed at the request of some international festivals years after the last performance, maintains its basic intention and arrives today, as twenty years ago, to insinuate the discomfort, even the malaise. certainly a vague uneasiness in the spectators. They witness for sixty minutes a sort of uninterrupted patrols of a various humanity that alone, in pairs, in groups enters and exits a corridor outlined by a series of mirror panels struck by incessant gusts of wind.
Game of entries and exits
In the interminable game of entrances and exits (already in themselves, if you will, indicative of our passage on this earth), fragments of daily life are captured: someone sips a coffee, someone else rings an act of love, still others dress, they eat, urinate, beat themselves up, rock babies. Every now and then someone stops and looks at us, implicit reference to the common existential condition. In this interminable carol the nine performers (as they used to say real dance