Blog 5 - Nachtmahr by Marco Goecke
Marco Goecke's work 'Nachtmahr' - Nightmare - takes place on a low-lit, grey stage. This is Goecke's signature set - unencumbered, bare, stripped back to the minimum. Likewise his dancers have hair greased back and wear plain, unobtrusive clothing. The only thing of importance is the body and its movements. On this stark stage, there is interplay only with the lighting. It is used to accentuate movements, highlighting parts of the body, dimming, occasionally unnerving the audience.
The dancers are almost mechanical in their precision and the speed of their lightning fast movements. Despite this vigour, there is however a delicacy and lightness built in to every phrase. This is perhaps a reflection of Goecke's underlying intentions: that a 'nightmare' is not intended to be a negative expression. He has stated that each of his pieces remind him of a dream - a dream that goes through a hard reality 'the duet is a journey that reminds you all the more of a dream, as something unexpected might happen'. (Goecke,2021)
The choreography is indeed unexpected. The abrupt changes of tempo, the fluidity contrasting with the fixed mechanical movements, the symmetry versus the asymmetry, the repetition, as if stuck in a loop, suddenly brought into relief with a quick linking movement which changes direction and almost saves the dancers from themselves.
There is beauty in the simpler movements built into the piece. On first viewing I felt the dancer revealed a certain vulnerability - alone and moving with such speed that it suggested he was out of control. Control, however, is central to their performance. Every movement flows into the next with total fluidity - the smallest head gesture or movement of the hand linked in perfect precision. This is all demonstrated in the attached video where we see undulating movements of the body with the arms being used in rapid, slightly frenetic motion, almost encouraging the lower limbs to move. The small, simple flick of the leg turns the dancer whose repeated motion is broken and he then connects with the music, moving as if accompanying the piece on the piano. He once again moves into a repeated motion - as if opening and closing a door - before strengthening his pose. Arm movements are once again central - moving rapidly between fluid extensions, into a lasso motion and then repeated, snapping, hard movements like the opening and closing of scissors. The dancer's movements become a little more open, as if conducting an orchestra before moving to the side stage for the arrival of his duet partner. Their slightly offbeat synchronicity creates a mesmerising moment before she moves into centre stage.
A viewer might imagine that the music to accompany a 'Nachtmahr' might portray fear, with discordant notes, rapid and bold crescendo. But like the unpredictability of Goecke's choreography, the music accompanying the piece is a gentle piano melody, its notes rolling easily as if playing in the background during afternoon tea. This adds to the dream-like quality that Goecke has tried to create and removes fear from the audience. They are not perhaps going to watch the reenactment of a nightmare.
I am aware that music is often used to contrast with the emotions of a choreographic piece. A light, gentle piece can show the inner torment - as if the dancer is separate from the beauty and going through a personal torment, unbeknown to the world around. This is something I could consider with my piece - as I am truly depicting a living nightmare. However, I feel that I would like to show a gradual change in my choreographic work - a development in the style of movement and feel that I need music which does not remain constant. By moving from the contrasting states of happiness to sadness, my hope is to use music which likewise changes to reflect this.
Although there is little discussion of Goecke's creative processes for Nachtmahr, in an interview with a dancer at the Paris Opera Ballet Company, he explains that Goeck's choreographic processes are known to be a very personal experience between him and the dancers. A solo for one is never the same for another. (Opera National de Ballet,2019) (1.32-1.38)
Dancers explain how rehearsals are done in a quiet room to create the environment found on stage. The "dark studios with little light," being "alone with him and the rehearsal director" combined with the vigorous physical work of his choreography is an intense work place. Squeezing the dancers to the point of "feeling so empty but so full at the same time." (ref)
They comment that the movement is powerful and intense, with so much movement in so short a time, but Goecke is 'a genius for seeing what is needed.'
My intentions:
Using Goecke's style as inspiration I hope to use movement to express an inner turmoil rather than a 'dream-like state'. A variety of contrasting phrases supported by a variety of speeds and pauses will create the effects I am after. I enjoy experimenting with the more mechanical yet fluid movements used by Goecke. Of upper most importance I now see the value of the 'simpler' movements which link phrases and add embellishments and intend to explore ways of using these. I am reminded of Goecke' words 'dance is dead if you don't take chances' and look forward to trialling chances of movement and expression.
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