Black Swan by Marco Goecke
The second piece of work that I have studied by Marco Goecke is his work Black Swan - a deconstruction of the classical performance of Swan Lake. (Bak, 2021)
The opening is grand with an expansive pink back drop and music from Tchaikovsky’s score, reminiscent of the great classical productions. But as the rear curtain draws, an element of comedy is achieved as a dancer struts (somewhat duck-like) alongside the closing curtain, before a female dancer likewise struts centre stage. She throws her arm outs if unconscious of the presence of an audience - after all she is a bird.
Goecke's signature style of choreography is immediately present, with rapid, laser-sharp movements which are almost mechanical but for their ease and speedy fluidity. Yet the piece continues to maintain a somewhat clownish, mimetic style as the arms are clearly flapped as if wings and the occasional upturned foot is reminiscent of webbed feet. The dancer's arms at 0.23 are almost in a comical balletic pose as she holds her wings above her head. However, like in Nachtmahr, the music may hide torment as we see at around 0.40 when her small shaking movements appear to be expressing pain. Goecke's small, simple yet pivotal movements build a rich source of rapid actions growing into large, expansive arm movements which are then mirrored by the second dancer who enters at 1.00.
Similar to 'Nactmahr', the couple work slightly in canon, as if pausing to reflect the other's movement. but by 1.30 move in perfect synchronicity. Goecke is not afraid to use pauses to contrast with the rapid movements and perhaps to exaggerate the movements which follow.
As the duet continues, the comedic movements are reduced and, as in Nachtmahr, repetition becomes a method of emphasis, such as repeated back bends for 10 seconds at 4.19.
The music changes as the first dancer leaves the stage, and the dancing style changes accordingly. Like a folk dance, the heavy violin harmony creates a lively movement, so easily accommodated into Goecke's style. The movements remain rapid, seemingly simple and energetic but are somewhat less mechanical as jumps and turns are included.
It is a wonderful, lively piece, showing humour, as well as pain, all achieved through Goecke's trademark quivering aesthetics. Like Nachtmahr, the stage is grey and bare and the dancers unencumbered by detailed costume. The whole atmosphere of the piece, however, is very different from Nachtmahr, achieved in part by the music, the comedic poses and the slightly reduced automation of the movements. Goecke has clearly taken his 'chances' to create a piece of originality despite working from a well-established source.
Since there are no reviews on this productions, I am unable to comment on how it was received. My response however, as a viewer, was one of intrigue. As the piece progressed I started to understand the depth of the emotion and not just the flapping of bird wings. The piece is as multi-layered as Nachtmahr and the subtle expression of emotion through simple movements is something I hope to achieve in my own choreographic work.
Reference:
- Image (2021) Jeanett Bak. Available at: Four choreographers respond to Swan Lake: they are happy to sink the original | De Volkskrant
-Marco Goecke Black Swan, (2016),Akapohi, Available at: BLACK SWAN MARCO GOECKE - Bing video Accessed: December 2021
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