Blog Post 3 - Marco Goecke
It is Goecke's unique way of moving that first caught my attention. Digital and jagged movements form his trademark. (Batschelet, 2019) He works through gestural positions and movements that are internally driven and expressed. His movements have such purpose, clarity and precision which are all so tightly connected - each movement part an integral chain. His work has been described as a fluid yet "ever changing and entirely unpredictable calligraphy” that forms in the wake of his movements (Batschelet,2018) It is certainly a transfixing experience to the eye. Goecke also works faultlessly with time, a perfect balance of speed, stillness and slowed movement flow in equilibrium. This quality makes his work so appealing to me; the differing tempos build and accentuate each other creating movement that captivates and mesmerises an audience.
After watching Goecke's Black Swan (2016), it became evident that he is not afraid to make his dancers face and move in all sorts of directions. His use of vast angles reveals his ability to allow the whole body to speak, not just relying on the face to express and connect. I was particularly mesmerised by the intricate fast paced choreography, and the energy the dancers gave to create such clarity of movement - always achieving clear starts and stops to a movement yet every movement fitting together so fluidly.
My first experience of Goecke's work was an online streamed piece for the Stuttgart Ballet entitled "Nightmare”. I was transfixed. I fell in love with his detailed way of moving, a unique adrenaline-building style I had not seen before. He was able to make his dancers move in "Shivering, fluttering, weaving, cutting” ways (Batschelet,2019). Before deciding on a topic, I knew I wanted to include some kind of similar quality within my own piece.
A main source of research has been looking at Goecke's performance reviews. I wanted to understand the feelings and effects he provoked in his audience. Whilst watching his performances I was diving deeper into my own thoughts and opinions - why is his work so moving? The stage lighting adds to the effect, as he often uses spotlighted low lighting, this adds to sense of focus upon the dancers and the emotion they are trying to convey. Finding content on how he works and what creative methods he uses has been a challenge. I have therefore taken a different approach by deeply reviewing how an audience may respond and feel whilst watching his work.
I feel a large portion of my creativity has been inspired by an interview broadcasted after the virtual performance "Natchmere." It allowed me to view the piece slightly differently as he described not seeing the "nightmare" as a negative thing, but instead "a dreamy job that goes through a hard reality." He continued by describing every piece as a sort of dream, although choreographing "is not dreamy or romantic", instead it's "hard and earthy". (Goecke,2021) This has inspired me to let go of the idea of being ‘too much’ or not creating something aesthetic to the eye. To take chances in raw, authentic and evocative movement will now remain my priority. Like Goecke says, "the dance is dead if you do not take chances." (Goecke,2021)
I have understood the immense effect of simplicity through Goecke's work. The combination of seemingly simple movements is greater than the sum of its individual parts. This has influenced the way I look at the process of creating material - not to over analyse or judge the choreographic procedure as I slowly build my piece. I was initially concerned by the complexity and quantity of material I believed I had to create. However, after researching and watching some of Goecke's pieces, I know this does not have to be the case. The most entrancing parts are not necessarily the most complex. This is evident in ‘Nachmahr’, where the male dancer lights matches for 55 seconds; little movement is taking place yet it was one of the most captivating parts of the 10 minute piece.
Reviewing Goecke’s work has certainly inspired me. I can see that dynamism and precision can co-exist with fluidity. His work is also full of contrasts. Although his style is all about fast-paced, detailed choreography, his transitions appear easy and fluid, and the perfect amount of resistance is used to accentuate movement. This is the quality and effect I aspire to achieve within my own work as I explore the movements of someone in desperation. I can see that movement does not have to be frenetic in order to portray powerful emotion.
References:
- Batschelet, S. (2019) Zurich: Marco Goecke's new age Nijinsky. Available at: https://bachtrack.com/review-nijinsky-goecke-zurich-ballet-and-opera-opernhaus-zurich-march-2019 (Accessed 3/10/21)
- Batschelet, S. (2018) Choreographers Marco Goecke and Edward Clug reinvent Stravinsky. Available at: Choreographers Marco Goecke and Edward Clug reinvent Stravinsky | Bachtrack (Accessed 3/10/21)
- Akapohi1996. (2016) Black Swan Marco Goethe. 8th November, Available at: BLACK SWAN MARCO GOECKE - YouTube (accessed:1/10/21)
Marco Goecke (danceopen.com)
Image: https: www.danceopen.com. (accessed 9.2.22)
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