published by: Proscenium: Space & Dance / Elke Van Campenhout on 04 April 2001
Compagnie Zoo stands for intelligence and transparent choreographic pieces in which the body with all its modifications occupies a central place. Thomas Hauert's performances are characterized by a great compositional power, in which improvisation is all-important, as well as a great deal of humour and Simon Siegmann's recognisable stage designs. In Do you believe in gravity. Siegmann opted for a dynamic division of space. A stage concept of light that appears out of the dark and then vanishes. Clusters of overlapping geometric shapes appear next to a simple, round, red rug. Circles and squares intersect one another and thus acquire an unequal density. A layered structure of light in which Hauert attempts to find his way. At a certain point in Verosimile the lighting plan even starts to function independently. In the absence of the dancers, the lighting plan is shown in reverse order and speeded up. It is a question of memories, a dramaturgy of lighting that manifests itself independently of the dance as a guiding, constructive element of the performance. This is contrasted with the simple structure of the stage area. The musician is positioned on the left forestage and Hauert more centrally upstage. This option is determined by the dynamism of the view. Because the spectator views the stage according to a repetitive system. From downstage left, to upstage right, in the same way one has been taught to perceive a text. We also see this apparent simplicity in the group performance Verosimile, for which Siegmann lays several bands of coloured dance floor one behind the other. The pattern of horizontal stripes created in this way exudes an incredibly cheerful air, reminiscent ofthe bright colours ofthe circus. The green, yellow and blue of the dance floor fits in perfectly with the lightness of the choreography and the use of Italian pop songs. A striking element of the design is the rolls of ballet floor that have only been unrolled as far as the dance floor extends. The ends of the rolls lie waiting on the perimeter, and this gives the whole stage set a very temporary feel. A fleeting moment between get-in and get-out. It is an operation in which we see the transience of the dance itself. Siegmann creates strictlydefined spaces which are largely filled by the lighting. The dance makes its mark on the space and the light grows in the designer's mind. The spaces that develop are not illusionistic. The stage designer adheres to a technical minimalism that shows itself in all its materiality. The movement develops from basic concepts such as colour, form and size. Or from the choreographic construction itself. For example, he uses the 300 taped markers for the dancers to construct a special decorative element that becomes an integral part of the larger whole. The spaces are not focused on detailed presentation. There are either no accessories, or else they take the place of the set itself by their repetition. A single stage image comprising 300 chairs or 3000 bottles of Evian. In which the object presents itself as an object. Initially the whole theatrical space develops from the black box of the computer. It is a very graphic detail, which is subsequently delineated in the three dimensions of the space. It is a method of working which generates unexpected options. A virtual space that constructs itself as easily as it disappears into nothing.
