Classical vocabulary meets modern movement language: "A dancer dares to try something different. The unknown, the new. But she doesn't say goodbye to what she has learned so far. She wants to continue there. But she is also happy to try something new and to gain undreamt-of experience. It is a bit the story of my life and that of many other dancers.
Delattre Dance Company
Filipe Portugal wants to follow the footsteps from his ballet director Christian Spuck, who also started they choreographer career with "Jungen Choreographers" evenings. Portugal shows a coherente choreography on music by Arvo-Pärt. Heavy Lightness is much more strong than light.
My choreography focuses on the four elements fire, water, earth and air. On the one hand, I am interested in their characteristic properties. But much more I would like to find out what reaction the interaction of the different elements triggers in dance and movement. Starting point of our "investigation" are the birthdays of the dancers of the Junior Ballet.
Portugal’s choreography takes the dancers to the very limits of physical possibility, and often incorporates the “beat” of the Bach in entirely startling ways. Rarely have I seen a dense collection of movements parallel a score so closely. A single note emphatically played, and a foot might strike out like a momentary afterthought, or an arrow-straight body suddenly crumple.
Things take a happier turn in the world premiere of Filipe Portugal’s “Stepping Over,” set to parts of Philip Glass’ “Tirol” Piano Concerto. Women fall or swoon into guys’ arms; couples move through positions that are sensuous and chastely romantic by turns. Bodies stay flexible, pliant, almost melting into place.