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Danse Macabre – Perpetual Motion

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Danse Macabre – Perpetual Motion DANSE MACABRE – PERPETUAL MOTION viDeo-BaseD inteGrateD meDia musiC/DanCE/Drama perFormanCE RE, dated 5th May 2008, devised and written by Maureen Thomas who retains the full copyright. who retains Thomas Maureen by 2008, devised and written 5th May dated RE, OUTLINE B A C ANSE MA D WRITER (Original Spatially Organised Concept, Book and Lyrics) Maureen Thomas DIRECTOR (Video and Performance Direction and Interactive Staging) Mika Tuomola ocument incorporates the original script the original of incorporates ocument D SCENOGRAPHER oncept oncept C (Spatial Environment and Set Design) Jaakko Pesonen esign and esign D DANSE MACABRE – PERPETUAL MOTION VERSION 0, MAY 2008 text: ©Maureen Thomas 2008 This Presentation, Presentation, This CONTENTS Story Synopsis and Cast 3 Ivan’s Dance - Drama Story – Danse Macabre Ballet 5 Characters/Backstory Ivan 7 Elena 8 Tom 9 Stella 0 Koit 2 Description of Performance/Dramatic Experience 3 Background 3 Moving Image Media 3 Music and Lyrics 4 Choreography 4 Direction and Scenography 14 DANSE MACABRE – PERPETUAL MOTION 2 OUTLINE, MAY 2008 text: ©Maureen Thomas 2008 STORY SYNOPSIS TURKU-TALLINN, 2011 IVAN KAREZHKIN (b. 937) (Russian émigré Choreographer, one time Dancer) stages, in Turku and Tallinn, the European Capitals of Culture, in 20, a revival of the first dance-drama that made him famous: the 2-person work, Danse Macabre. IVAN sees this as his ‘swan song’ – his final farewell performance before retiring. IVAN selects young dancers TOM (b. 989, from the UK) and ELENA (b.988, from the US) to recreate the roles originally danced by IVAN (b. 937, from Arkhangelsk, Russia) and his partner, STELLA (b. 940, from Ivalo, N. Finland), in Helsinki, in 96. At the original Premiere of Danse Macabre, IVAN, dancing the role of ‘the Devil’, fell - and seriously dam- aged his knee. Danse Macabre has never been performed since; IVAN could not face re-staging it. In fact, IVAN never danced again after injuring himself, on the original first night. Now, in 20, aged 74, IVAN is a world-renowned choreographer and teacher. Aware that his retire- ment from the world of dance is imminent, IVAN, at last, faces his ghosts. He stages this new Turku- Tallinn Cultural Capital Celebration performance of Danse Macabre – giving it, and himself, a second chance. Meanwhile, STELLA, now 7, stages her ‘Crystal Cabaret’, also in Turku and Tallinn, triggering memories of her life, including the traumatic events surrounding the original premiere of Danse Macabre. It is hard not to transform, or try to transform, someone you love into the image you project of them - whatever internal mirror of your own that image may emanate from. It is equally hard, when you feel vulnerable, not to shelter behind a more confident mask. 3 DANSE MACABRE – PERPETUAL MOTION VERSION 0, MAY 2008 text: ©Maureen Thomas 2008 CAST IVAN (74) Choreographer and ex-dancer ELENA (23) Dancer and singer, also (masked) plays YOUNG STELLA in memory sequences and Danse Macabre Ballet TOM (22) Dancer, also (masked) plays YOUNG IVAN in memory sequences and Danse Macabre Ballet STELLA (7) Cabaret performer, Music/dance theatre director and performer KOIT (aged 3, in 96) Dancer and choreographer “It is hard not to transform, or try to transform, some- one you love into the image you project of them – whatever internal mirror of your own that image may emanate from. It is equally hard, when you feel vulner- able, not to shelter behind a more confident mask.” DANSE MACABRE – PERPETUAL MOTION 4 OUTLINE, MAY 2008 text: ©Maureen Thomas 2008 IVAN’s DANCE - DRAMA STORY – DANSE MACABRE BALLET In IVAN’s dance drama, Danse Macabre, the DANCER (ELENA/STELLA) comes upon the DEVIL (TOM/IVAN) - handsome and agile, who is dancing a magnificent solo. The DANCER, attracted by his good looks and overwhelmed by his extraordinary performance, comes closer and closer, to watch in fascination. The DEVIL, never stopping his graceful and energetic perform- ance, beckons to the enchanted DANCER - and begins to draw her into the dance, showing her how to follow his steps. The DANCER, attracted both by the DEVIL’s wonderful choreography, and by his charisma, eagerly starts to learn his steps – but she finds it hard: almost as though something inside her resists. Pulled in two directions - towards the DEVIL and away from him - as though by some invisible hand, the DANCER gradually picks up the DEVIL’s dance. Over and over again, the DANCER is drawn to the DEVIL, and learns a few steps, then pulls herself away, resisting his charms. The more the DANCER resists, the more powerful and charismatic the DEVIL’s per- formance becomes - he grows increasingly demanding, pushing her to learn his strange and wonderful steps. But the DANCER still seems to be torn, resisting the DEVIL with some part of her. The DEVIL - never interrupting the flow of his dance - finally shows the DANCER that he cannot pull off his dancing shoes: he cannot stop dancing… until someone else dances his steps with him. If he cannot teach all his steps to another person, he is condemned to go on dancing, alone, for the rest of his days. But if someone else will learn his steps, he will be released - he will be able to dance freely, from choice, not compulsion. The DANCER, moved by pity for this handsome young stranger, as well as by her own burning desire to learn the entrancing steps, picks up more and more of the DEVIL’s dance. The two twirl and leap joyfully, the pace growing ever more thrilling, until at last the DANCER begins to tire, and seeks to rest. But the DEVIL will not let her give up. He shows her more and more excit- ing movements, and so she dances on, exhilarated by her own growing skill - until at last she collapses on the ground, exhausted. In a moment of uncontrolled anger at her resistance, the DEVIL lets slip the mask of the handsome stranger. The face behind it is not innocent or young, but the face of a much more calculating man – though one who is still seductive. The DANCER, part-dismayed, part-curious, backs away. But now the DEVIL, desperate to continue transferring the curse to the unsuspecting DANCER, reveals to her that he was in disguise as a young man because he did not want to frighten her - he is in fact ancient, though eternally vigorous. And since he is immortal, unless the DANCER helps him by learning the steps of the dance, he will never be rid of his dancing-shoes, but must caper on without respite forever and ever. Taking pity - and still drawn by the DEVIL’s seductive charisma - the DANCER struggles for new energy, and once again sets out to learn more of the dance. She grows increasingly exhilarated by her success, and also increasingly enthralled by the rhythms of the dance itself, which she performs with more and more elegance and confidence, spurred on by the admiration of the DEVIL. But yet again the DEVIL pushes the pace too hard, and drives the DANCER beyond her strength. As he leaps high through the air in his frustration, the DEVIL’s second mask falls away from his face - revealing yet another persona. (At the original premiere, it was during this dramatic leap that IVAN fell, and damaged his knee beyond repair.) The face the DEVIL reveals this time is a mask of pure, eternal, ecstatic passion – and at the same time, utter self-absorption. But the DANCER is by now entrapped in the dazzling rhythms of the dance. Can she see that she is dancing with the DEVIL himself? The steps she has already learnt compel the DANCER on, entrancing her with the power they release in her. She begins to dance away from the DEVIL, confident in her own soaring steps. 5 DANSE MACABRE – PERPETUAL MOTION VERSION 0, MAY 2008 text: ©Maureen Thomas 2008 The DEVIL, playing on the DANCER’s sympathy, and on her growing desire to master the difficult and dazzling move- ments, works tirelessly to trap her into finishing what she has begun. Finally, the DANCER, worn out, her feet sore, leans on the DEVIL - hopping on one leg to pull off one of her slippers, and massage her aching toes. The DEVIL tenderly helps her to replace the shoe, and she raises her other foot, offering him the shoe to pull off. The DEVIL tries - but he cannot remove the slipper. Alarmed, the DANCER tries herself – but the shoe will not budge. The DEVIL performs a yet more spectacular leap, distracting the DANCER’s attention - forgetting her shoe, the DANCER, mes- merised, cannot stop herself from copying the DEVIL. Yet she does still try to pull back - to resist the next set of steps. Clearly, the DANCER is desperately torn, between learning the dance, and escaping from the DEVIL’s power. The choice is hard: while the dance possesses her, the DANCER is a creature of fire and air. So the DANCER and the DEVIL whirl on, in an exuberant and passionate pas-de-deux - until the DANCER once more falls, completely exhausted. But once again, the DEVIL urges the DANCER on. He argues that she is mortal: she can pass on the steps to another if ever she grows tired of them, and if not, she can dance in delight until she dies. But the DEVIL himself is immortal, and if the DANCER does not help him, he is condemned to dance for the rest of eternity whether he likes it or not. The DANCER, even though she now understands that she may die before she passes on the steps, slowly rises to her feet, and starts to work once more with the DEVIL on the wonderful steps.
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