No Light Thing

2 Dancers, 10 minutes

Trailer:

Artistic Team:
Concept: Dorian Nuskind-Oder with Simon Grenier-Poirier
Choreography: Dorian Nuskind-Oder
Sound Design: Simon Grenier-Poirier
Rehearsal Director: Neil Sochasky
Interpreters: Rose-Marie Thériault, Michael Watts
Premiere: Sept 2010 at Tangente (Danses Buisonnieres)

Performance History:
Sept 2010: Tangente (Montreal)
Sept 2012: World Event Young Artists (Nottingham, England)

Description:
“No Light Thing” is, at its base, a love story. A video camera, a television and a tape recorder are used to complicate this narrative. The interaction of these actors addresses the relationship between memory and recording, as well as distance and broadcasting. With a mix of subtle movement and strong emotion, the piece unfolds quickly, like the reading of a short story.

Photos: click thumbnail to view larger

     photo by Ari Segal              

 

 

 

 

Reviews:

  • “…Dorian Nuskind-Oder presents a duet that makes great use of video, No Light Thing. A man and a woman’s twisted relationship is simultaneously presented to us en chair et en os as well as through a television screen that feeds off a camera capturing fragments of the performance live. Standing on the left side of the stage she looks at his back, while on the television screen that is on the right she faces him. He has to enter the television image by walking into the field of vision of the camera in order to see her. They switch positions to cheekily create a reverse over-the-shoulder shot, demonstrating the awkwardness of the cinematic device. As an audience, we must resist the impulse to privilege the television screen over the physical performers; the television offers us a proximity that borders on domesticity, reinforcing the exhibitionism of the performative act.”  – Sylvain Verstricht (www.indyish.com)
  • “Cette pièce, la plus chaudement applaudie par le public, traitait de relations interpersonnelles, en particulier des rapports femme-homme. La parade amoureuse du poilu Michael Watts était assez comique et nous rappelait notre nature fondamentale: animal, primate. Homo sapiens? La femme et l’homme s’attirent et se repoussent. Un écran de télévision et un objectif de caméra les séparent parfois, comme un fossé de malentendus. Émergeant d’abord d’un appareil collé sur la poitrine de Michael, la musique grinchante est très bien utilisée et oscille entre le romantisme et la dissonance. Encore une fois, des accessoires assez simples sont utilisés de façon ingénieuse.” – Marie Chantal Scholl, www.dfdanse.com