Meg Stuart
Damaged Goods
Jozef Wouters/Decoratelier
MOUVEMENT, Chasseur de Palimpsestes, Lauriane Schulz [ French ]
Tip Berlin, Die Aura-Jägerin, Arnd Wesemann [ German ]
INFERNO, Hunter: Meg Stuart, Smaranda Olcèse [ French ]
The Irish Times, Built to Last, Michael Seaver
The Irish Times, Built to Last, Michael Seaver (review)
Examinor, Built to Last, Chris O'Rourke
NRZ, Choreographie der Körpererkundung, Michael-Georg Müller (22.09.2015) [ German ]
Deutschlandradio Kultur, Das Ende einer Ära, Christoph Liebold (18.06.2015) [ German ]
Deutsche Bühne, Unbequeme Zügellosigkeit, Vesta Mlaker (20.06.2015) [ German ]
NRZ Der Westen, Choreography of the exploration of the body, Michael-Georg Müller (22.09.2015)

Three women and three men build towers and bridges with their bodies. In groups of three or four, they twist and entangle their bodies. It’s barely visible, which arms and legs belong to which face. Now they dance in colourful pants or sweaters, other times they’re topless or, later on, even stark naked. All this is not new. We’ve seen it before in many contemporary dance pieces. But in UNTIL OUR HEARTS STOP, a piece by choreographer Meg Stuart, the dancers go further, sniffing each other and tickling their partner’s bare skin, making no difference between man or woman. The nose gets a run for its money; its urge to explore does not stop at the pubic border. Irony, parody, comedy and genuine feelings are mingled together in this sensuous composition of body images, that Meg Stuart is now presenting at PACT Zollverein as part of the Ruhrtriennale.

Meg Stuart doesn’t break boundaries; she crosses them in this cleverly composed performance that oscillates between a heated drum allegro and a trance-like piano. Here are two naked women, sitting in front of each other, their legs apart, tickling each other’s labia with their feet. Then there are three men, massaging each other’s abdomen, back and buttocks. But this piece, which goes on for two hours without a break, has nothing to do with voyeurism. As much as the performers play with each other’s limbs, they do so as innocent, silly children. Carelessly and naive, they run free, rub each other and throw each other around. Some of them frequently comment their own actions.

The way Meg Stuart engages the audience without making it feel uncomfortable is extraordinary. In a fully lit theatre, the spectators receive water, fruit and cake. They are offered clay to give their hand muscles a work out as the piece continues. Unrestrained, the performers talk to visitors, spray cologne or open their shirt and ask spectators to smell their sweat. The fact that they are willing to do so proves that Meg Stuart has succeeded in making the audience become a licentious partner in crime.

DE MORGEN, Dancing beyond embarrassment - Pieter T'Jonck

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