[et_pb_section fb_built=”1″ admin_label=”PERFORMANCES” _builder_version=”4.4.8″ background_color=”#ece9ea” global_colors_info=”{}”][et_pb_row admin_label=”HYPER (2017)” _builder_version=”4.4.8″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.4.8″ global_colors_info=”{}”][et_pb_text admin_label=”HYPER (2017)” _builder_version=”4.11.1″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_2_font=”|||on|||||” header_2_text_align=”center” header_2_text_color=”#777777″ text_orientation=”justified” custom_margin=”|150px||150px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|15px||15px|false|false” custom_margin_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n
[\/et_pb_text][et_pb_image src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/08\/Hyper_A3-1-scaled.jpg” title_text=”Hyper_A3″ align=”center” _builder_version=”4.5.8″ _module_preset=”default” custom_padding=”|150px||150px|false|false” animation_style=”fade” animation_duration=”2000ms” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”HYPER (2017)” _builder_version=”4.5.6″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ text_orientation=”justified” custom_margin=”|150px||150px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|15px||15px|false|false” custom_margin_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n
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\u201cPapa says that I\u2019m a golden child and the whole world\u2019s gonna fall at my feet. It\u2019s all coming to me.\u201d \u00a0<\/i>Nathalie Merchant<\/em><\/b><\/p>\n With her new commissioned work,\u00a0HYPER<\/b>, Margret Sara Gudjonsdottir holds up a mirror to the hyper visual and rapid society we live in today, by dwelling on and inside the deep tissue, both of this very palpable reality and of the bodies living within it. Performed by four dancers of the Cullbergbaletten ensemble, the work portraits the essence of the grand human drama as a cry from the body. Emotions flush through this body without a filter, allowing the viewer to experience extreme sensorial states through the bodies of the dancers. The performance silently creeps under the audience\u2019s skin, sliding around their inner spaces and confronting the surface as a gateway into what lies beneath and beyond our superficial facade. A disarming performance in its crisp stillness, the work offers access into the healing aspects of examining and confronting the inner reality of the de-bordered body, providing an alternative reality of the physical pleasure and pain that comes with diving into the HYPER states.\u00a0<\/span><\/b><\/p>\n Choreography<\/b>: Margret Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Music:<\/b> David Kiers and MSG\/Lighting design<\/b>: Martin Beeretz\/Dancers of Cullberg Ballet<\/b>: Adam Sch\u00fctt, Anand Bolder, Eleanor Campbell, Vincent Van der Plas. Produced by the Cullberg Ballet<\/b><\/p>\n <\/p>\n Cullbergbaletten\u2019s \u201cHyper” is a remarkable, compelling masterpiece and a rumination on the \u201cwired\u201d nature of modern life. It is not to be missed, writes \u00d6rjan Abrahamsson.<\/strong>\u00a0<\/p>\n While watching the performance I am struck and fascinated by Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s choreographic consistency. This impression lingers after the curtain falls, as does my awe at the impressive concentration of the four dancers. I\u2019m also left mildly amused, vaguely bored, and pensive – but not particularly interested, let alone moved.\u00a0It is only later, as I make my way home – alone, having parted ways with my companion – that the performance\u2019s magnetic force begins to sink in. Gradually, my intellect catches up with the intense, physical experience of the ballet. This makes \u201cHyper\u201d a prime example of perhaps the most unique aspect of the greatest choreographic accomplishments.\u00a0<\/span>It takes a fair amount of time for the subconscious and the brain’s limbic system to communicate the physical body’s reactions to consciousness. When this connection finally occurs, the effect is overwhelming. Such is the case with \u201cHyper.\u201d It is shocking. Long-acting.\u00a0Let\u2019s take it from the beginning.When taken at face value, \u201cHyper\u201d is almost provocatively simple. The curtain rises on four dancers. Two are standing, while the other two lie on the floor. Their placement is reminiscent of a crime scene photo. Blue-white floors shimmer against a backdrop of white curtains. During the 50-minute performance, the dancers move convulsively in extreme slow motion. They are never more than three meters from their starting points, yet some small part of their bodies remains in constant motion. It is as if they are trapped in setting cement.\u00a0<\/span><\/p>\n Aside from four short song clips, \u201cHyper\u201d is accompanied only by Tibetan throat singing – strange, discordant, and vaguely synthetic. That is all. Yet this is a hyper-professional performance.\u00a0It is not without reason that Gu\u00f0j\u00f3nsd\u00f3ttir has become one of the decade\u2019s most acclaimed and sought-after choreographers. Her work is highly conceptual, yet at the same time, it is of course fundamentally based in the human body. This dichotomy can be seen in Gu\u00f0j\u00f3nsd\u00f3ttir \u2019s early solo, \u201cSoft target,\u201d (DN 14\/10, 2012) which \u201cHyper\u201d resembles in many respects. At the same time, it is a completely different work. Both works are based in the existential, but \u201cHyper\u201d is also a chamber play about the shortcomings of social life.\u00a0<\/span><\/p>\n As with all significant works of art, \u201cHyper\u201d leaves room for layer upon layer of interpretation. Personally, I find myself hung up on the dystopian undertones of the performance – on its questioning of how today\u2019s stressful news cycles, our inextricably wired lives, and social media affect us. Of how they affect mankind. Rather than increasing our freedom, this interconnectivity creates a lack of patience that is effectively portrayed by the physically stammering, even catatonic individuals on the stage. They also appear unable to communicate with each other.\u00a0At the same time, Gu\u00f0j\u00f3nsd\u00f3ttir offers hope. She demonstrates and reminds the spectator of the sensational physicality of the human body, and, if only we are attentive enough, of its unmistakable presence. In the best case scenario, it is only when we see and recognize our own (and contemporary society\u2019s) spastic condition that we can \u201cchill out,\u201d relax, and be freed.\u00a0In short: \u201cHyper\u201d is a stunning, captivating masterpiece. It is not to be missed.<\/p>\n 01.03.2018 O\u0308rjan Abrahamsson, Dagens Nyheter, Stockholm<\/em><\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=-5lqZSERWks” src_webm=”https:\/\/www.youtube.com\/watch?v=-5lqZSERWks” image_src=”\/\/i.ytimg.com\/vi\/-5lqZSERWks\/hqdefault.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” module_class=”lwp-no-download” _builder_version=”4.10.7″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_video][et_pb_gallery gallery_ids=”730,558,563,559,105,560,562,564,565″ fullwidth=”on” _builder_version=”4.5.6″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" HYPER (2017)- Cullberg Ballet\u00a0\u00a0 \u00a0 Synopsis & credits \u201cPapa says that I\u2019m a golden child and the whole world\u2019s gonna fall at my feet. It\u2019s all coming to me.\u201d \u00a0Nathalie Merchant With her new commissioned work,\u00a0HYPER, Margret Sara Gudjonsdottir holds up a mirror to the hyper visual and rapid society we live in today, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n Ceci est une page d\u2019exemple. C\u2019est diff\u00e9rent d\u2019un article de blog parce qu\u2019elle restera au m\u00eame endroit et appara\u00eetra dans la navigation de votre site (dans la plupart des th\u00e8mes). La plupart des gens commencent par une page \u00ab\u00a0\u00c0 propos\u00a0\u00bb qui les pr\u00e9sente aux visiteurs du site. Cela pourrait ressembler \u00e0 quelque chose comme cela\u00a0:<\/p>\r\n\r\n Bonjour\u00a0! Je suis un m\u00e9canicien qui aspire \u00e0 devenir acteur, et voici mon site. J\u2019habite \u00e0 Bordeaux, j\u2019ai un super chien baptis\u00e9 Russell, et j\u2019aime la vodka-ananas (ainsi qu\u2019\u00eatre surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).<\/p>\r\n<\/blockquote>\r\n\r\n ... ou quelque chose comme cela\u00a0:<\/p>\r\n\r\n La soci\u00e9t\u00e9 123 Machin Truc a \u00e9t\u00e9 cr\u00e9\u00e9e en 1971, et n\u2019a cess\u00e9 de proposer au public des machins-trucs de qualit\u00e9 depuis lors. Situ\u00e9e \u00e0 Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules super pour la communaut\u00e9 bouzemontoise.<\/p>\r\n<\/blockquote>\r\n\r\n\u00a0<\/h3>\n
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