Last Work of Ohad Naharin: masterful entrance to the Ballet de l’Opéra de Lyon repertoire

Last Workmajor play of the Israeli choreographer, Ohad Naharin, inventor of the “Gaga”, finally enters the repertoire of the Lyon Opera Ballet.

A dancer in a long, long -haired blue dress to lose breath on the spot, on the garden side, at the end of a unrolled carpet, then gradually rang the numerous and tutelary figures of busy dancers, in a gag trance, In several paintings, black and white, mixing the famous three themes of the baby, the ballerina, lonely in white tutu, and of the executioner, which arises at different moments in black chasuble, or other, in white too, unhealthy sado-masochism postures turning internally in image of war, rape or deep reflection on the banality of evil and monster. “Gaga” would be the first words that Ohad Naharin, the choreographer who invented this dance with multifacettes, would have pronounced. He creates Last Work in 2015 with the Batsheva Dance Company in a kind of testament of twilight hope; Last Workmeaning “last work”, or work. He continued his work danced beyond, while composing under the pseudonym Maxime Warrat, saying that “music is just a point of reference”, however it accompanies each uninterrupted painting, with accuracy.

Last Worktreaty of geometry, hope and empathy, in this brutal world, enters the repertoire of the ballet of Lyon, which seizes it with its multiple identities, by striking-housing, there is no more gender, and everyone individuals in this technical feat. Ohad Naharin continued his reasoned dance, still stirring, revolving around their axis, while improvising an unconscious form of reunion with his recurring themes: ballerinas in white tutus, prevented body, babies, executioners.

Fallen by the beauty of the room and terrified just as much, we fear twilight, but it is the hope that it generates. It is about unfair humanity in a loop. Arms and legs, stretched towards the sky, imploring, reconciliations, tenderness; But also wars. Dancers in black chasubles are so much like Nazi executioners, or priests, but it could be trance turvius; And the Gaga movement is only stopped to resume its swaying.

The Marathonian in a short blue dress on site the room during. Statuated, we hear the dancers breathing, alive. The simplicity of the black and white costumes of the tight flow of the twenty dancers, would refer to the codes of mourning or the Renaissance, according to cultures; The white pants and tank tops to regression, and the fragility of back nudity, at the time of the change of costume on stage, evokes a constrained counting, recalling the worst.

Last Work Reminds us of the uselessness of words to prevent the resurgence of horror, the destruction of humans in humans, that of European Jews in this case. War is omnipresent. When Jackson Haywood seems to be masturbating in front of a dancing white panty dancer, he mimics the fact of recharging a machine gun, polishing a rifle. Sexuality and war join an unconscious bank; In black and white, in staggered, on a giant chessboard, or in a solidarity pyramid, one near the other, Dance supports.

In white, an awkward consolation movement begins, to unlock without being able to reach the runner on site in a blue dress, which will run away without outing, to the end. When the dancers form a scrum in black, one would expect one of them to give off a rugby ball, that the game resumes, that the sufferings cease, clamps one and other, welded, sculpted: a ballet body. While their face is masked, as by white fabric bags, recalling a painting of Chirico. Always dancing with the grace and humility of Jacqueline Bâby who excels in all registers would be a guarantee of hope.

Last Work Leave the doors of the imaginary open. And the blue marathonian in sneakers nevertheless continues her mad race, on site, always garden side, for a dancer. Surrounded by moving cardboard scotch, whose screeching is understood, a geometry settles in a string: trapped, packaged, hostages of a devastated humanity?

Beauty with Last Work Could she still “save the world”?

Photographic credits: © Ascaf / Batsheva Dance Company

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Last Work of Ohad Naharin, a call for freedom of expression

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