Pam Tanowitz’s choreography stands out as a refreshing contrast to contemporary dance trends characterized by darkened stages, heavy theatrical fog, claustrophobic soundscapes, and cumbersome movements. Her set is bright and uncluttered, serving as a cleansing palate for the audience, both literally and metaphorically. While her dance can be quirky and unconventional, it is also meticulously crafted, with each decision intentional and every angle precisely calculated.
The UK debut of “Pastoral” marks a collaboration among choreographer Tanowitz from New York, Pulitzer Prize-winning composer Caroline Shaw, and artist Sarah Crowner. Drawing inspiration from Beethoven’s “Pastoral Symphony” and the concept of pastoral themes in art, Shaw deconstructs Beethoven’s work, incorporating three live musicians playing various reed instruments alongside orchestral recordings that surface like echoes or distant memories, intermingled with the ambient sounds of the city and nature.
Tanowitz, known for her own deconstructive tendencies, breaks apart and modifies phrases and motifs with a touch of humor and eccentricity. Her style, in essence, draws from the mid-20th century abstraction of Merce Cunningham, featuring streamlined lines and harmonious symmetry. Crowner’s artistic contribution also reflects influences from the 1950s and 60s, particularly geometric abstraction and hard-edge painting. She has created a striking installation with a floor-to-ceiling curtain and a large canvas, adorned with slices of pale pink cutting through deep greens, effectively partitioning the space into “rooms” against the otherwise stark white backdrop. The costumes by Reid Bartelme feature dancers in ombre chiffon, showcasing an unconventional gradient of coral, pink, red, lilac, and chartreuse, creating a visual tension between harmony and discord.
The minimalist nature of the score, the choreography, and the stage design offers a stimulating and provocative experience, filled with open spaces for contemplation. There is no unnecessary embellishment, even as the dancers perform challenging balances. Anson Zwingelberg’s sudden execution of a delicate phrase is like a fleeting gem, appearing and disappearing without any pomp.
Much like Beethoven’s music that reveals itself in surprising ways, the choreography evokes ephemeral images and associations. For instance, when the dancers converge against a green backdrop, it evokes the atmosphere of a 19th-century picnic scene. Conversely, the serene pastoral setting is jolted by an aggressive red square canvas and the sound of a bird call reminiscent of a siren, suggesting a potential threat to nature. “Pastoral” embodies a spirit of inquiry and wonder, presenting an engaging dialogue among three unique artists.
This performance is currently showing at the Barbican in London until October 3rd.
