© Photos by Gia To
Emerging from the darkness of the stage CLOUD GATE 2 dancers create a human wave recycling its own movement by removing dancers over the shoulder on a backwards roll motion. Always exploring the potential of a spiral and circles in the body, the collective still looks human, despite the sound dance technique and weightless partner work. The company performs ‘Wicked Fish’ by Huang Yi with incredible skill, ultra-light movement and exquisite precision.
In here, the choreographer plays with viewpoints allowing the audience to witness the large picture of the piece rather than focusing on one element at the time. It is impossible to be not absorbed by the chaotic and challenging double work performed by the ensemble, guiding the audience’s eye from one side of the stage to the other creating a blurry image contrasted with loud music from Iannis Xenakis – ‘Shaar’.
The night happily unfolds into the second instalment of A Triple Bill with ‘THE WALL’ by Cheng Tsung-lung. In black costumes, the dancers take the stage in perhaps a visual representation of the music score of Michael Gordon – ‘Weather One’. Forming various tableaux the audience can imagine the musical notes appearing and vanishing on stage through the dancer’s body creating the melody played in the background. The idea in here steadily develops into a new composition.
Short-fast-light steps move the ensemble in all angular directions reminiscing a Pacman game where the dancers are swallowed one at the time. Unity is at the heart of this dance company while serving the work of Cheng Tsung-lung CLOUD GATE 2 performs an incredible tight unison throughout the evening with no room for mistakes. The language moves from a light-weight circular movement to a light feather-like marching with angular gestures offering on the first piece a chance to see chaos and on the second a particular direction and viewpoint of the mass movement.
CLOUD GATE 2 indeed moves audiences, specifically directing one’s eye site to the detailed approach of a dancer’s sitting bone reaching to the floor on a hypertensive second position – revealing the human body as a 360-degree sensitive moving cell.
Closing the night with ‘BECKONING’ from Cheng Tsung-lung an impartially grounded dancer observes a duet of hyperextended limbs and partner work. Like two individual artworks in a gallery, the white floor accents the choreography revealing and effortless dance blooming in small floor patterns where nothing seems unexpected even when the weight shifts from hands to feet rejoicing the extraordinary skills of a dominant company of accomplished dance artists in their element – dancing weightless movement revealing humour.