La Veronal: Voronia

La Veronal, Voronia, Dance Umbrella at Sadler’s Wells, October 20

La Veronal in a scene from Voronia (photo © Josep Aznar)

If the old paradox is correct that there is no theatre without a spectator, what exactly is the role of the spectator? One writer who develops the idea of the relationship between the choreographer/performance on the one hand and the spectator on the other is French philosopher Jacques Rancière in The Emancipated Spectator. Rancière begins by positing two difficulties about being a spectator. ‘First, viewing is the opposite of knowing: the spectator is held before an appearance in a state of ignorance about the process of production of this appearance and about the reality it conceals. Second, it is the opposite of acting: the spectator remains immobile in her seat, passive. To be a spectator is to be separated from both the capacity to know and the power to act.’ To overcome such difficulties Rancière positions the spectator differently in relation to the performance by recognizing his or her active knowledge and agency, what he calls the ‘emancipated spectator’. He compares this to a teacher-pupil relationship in which the pupil will learn not what the teacher knows but what the teacher can encourage the pupil to discover what he or she doesn’t yet know. In this sense the role of a choreographer is similar to that of a good teacher. Pina Bausch allows us to make our own discoveries through her open-ended imagery, whereas Marcos Morau, the artistic director of La Veronal, whose new production, Voronia Dance Umbrella presented this season, is keen to have us understand something he is passionate about: in this case, the concepts of evil and religion.

Last year Dance Umbrella presented the company’s Siena which embodied Morau’s take on art and the human body in the seductive setting of the Uffizi Gallery in Florence. In Voronia Morau has conceptually moved his world of darkness and evil to the deepest cave in the world, Krubera Voronia in the western Caucasus but the stage set is neither deep nor dark: designer Enric Planas has contrived what looks like a convention-centre setting for the last supper: a table laid for a feast in a banqueting room with its red carpet and scalloped beige curtains hiding a steel cargo elevator that doubles as an operating theatre. As we take our seats we see the company dressed in white overalls meticulously cleaning the carpet with vacuum cleaners, buckets of water, sponges and mops while a young boy (Jared Irving) dressed as a waiter looks out at the audience. Above the stage is projected the Latin phrase, ‘In girum imus nocte ecce et consumimur igni’, a riddle in the form of a palindrome that means ‘we wander in the night and are consumed by fire.’

In the program note, Morau invokes the philosophies of Saint Augustine to state that in the same way that darkness is the absence of light, so evil is the absence of good. According to Morau, ‘humanity created God to secure the boundaries of morality; God serves as the keeper of goodness and a moral refuge for humankind. But in the hands of man, religion has gone to seed. For to kill in the name of God is to kill God and the absolute moral system.’ (As I write Paris is under a state of emergency following the terrorist attacks). In its printed form this is a cogent argument — a one-on-one with the reading spectator. But what happens when it is translated into the layered imagery of the stage with its surtitled text, visual imagery, dance, operatic music and spoken word? More importantly, what happens to the relationship between performance and spectator? In such a hybridization of media in the service of such a rational argument, it appears Morau and his dramaturgs Roberto Fratini and Pablo Gisbert have meticulously prepared all the translation and interpretation in advance, leaving the spectator to unravel an intellectual puzzle in which he or she wanders passively through a bewildering set of images to return at the end, for want of clarification, to the printed proposal. Part of the problem is that some elements of the layering do not read in the theatrical space — it is difficult to take in the texts of Saint Augustine while watching the action below, for example — and others, like the choreographic language cloned from the idiosyncratic Manuel Rodriguez or the soundscape that devolves from a heartbeat into a series of rousing opera choruses are not developed sufficiently to make them integral to the creative arc. But the major problem is the withdrawal of control from the spectator by the creator. It is like a teacher whose determination to inculcate his knowledge leaves no room for the pupil to learn.

La Veronal: Siena

La Veronal: Siena, Dance Umbrella, Queen Elizabeth Hall, October 30

Titian’s Venus of Urbino

Major art exhibitions often borrow works from museums around the world, but the Barcelona company La Veronal seems to have borrowed an entire room from the Uffizi Gallery in Florence in which hangs Titian’s Venus of Urbino. Our seats in the Queen Elizabeth Hall are as it were behind a glass wall peering into the space. The details of the room are meticulously reproduced (courtesy of La Veronal and Enric Planas): benches facing the painting, a small descriptive plaque on the wall to its right, an attendant’s stool between the plaque and the doorway through which we see a corridor with red carpeting. The walls of the gallery rise to a classical cornice, and the lighting is diffuse with a soft spotlight on the face of Venus. The only thing missing is the ubiquitous audio guide though there are two recorded audio commentaries spliced into the score. Audio guides influence the way we see a work, but without the guide we may miss some useful context; it’s a choice we make each time we attend an exhibition. In Siena, there is no choice. Marcos Morau, director and choreographer of La Veronal, choses to provide a lot of recorded and spoken text (by Pablo Gisbert) but he strings it together in such a way that makes understanding problematic.

More dreamlike than rational, more abstract than logical, Siena is billed as ‘a haunting reflection on art and the human body (that) takes us on a journey through the history of art from Titian’s Venus of Urbino to David Lynch’s Mulholland Drive.’ That’s a long way to travel in an hour and almost impossible to digest in a single viewing. What comes through Morau’s dense layering of art, cinema and dance is a preoccupation with the nude female body as art object and with representation as a form of death. The result is a visually rich feast of symbols and images in which intellectual threads are undeniably present but woven in such a way as to be constantly unraveling. It makes you want to reach for an audio guide.

Manuel Rodríguez, an elongated, angular El Greco figure, brings the gallery to life as he enters through the doorway in a buttoned black suit, green shirt and red tie. He is both attendant and master of ceremonies, using his long limbs and torso to conduct events, knotting himself into tortured shapes and giving directions with equal facility. He turns to look at the painting. A blackout serves as a cinematic cut to a woman-in-green (Cristina Facco) sitting on a bench in front of the Venus. Rodríguez looks at her looking at the painting. Two fencers minus their rapiers enter, bow to each other and commence a danced duel of sharp thrusts and jabs. Rodríguez now serves as umpire to the duel. What are two fencers doing dueling in the Uffizi? We don’t know, but we are visually drawn in by the superimposition of images. A hospital bed with a body bag is wheeled into the gallery, an image of clinical mortality that runs throughout the work. Facco gets up from the bench, lies down on the bed and zips herself up in the bag. The fencers finish and wheel her off, waving goodbye like two astronauts about to enter their capsule. The young woman who wheeled in the bed now takes Facco’s place in front of the painting. The attendant looks at the lap dog in the painting with some interest. Sau-Ching Wong lies on the floor like Venus in a fencing outfit and talks about the constant mystery of seeing the naked female body over the centuries. A young woman undresses in the corner like Venus herself in contemporary form and lies on the gallery floor. Death stalks once again in the form of the hospital bed passing along the corridor.

Now that Morau has set out the central themes of death and representation, he plays with the elements in flashbacks, monologues (in Italian with English surtitles), two audio guide commentaries and a duet to the voices (so I was told) of Mussolini and Berlusconi. Adding these layers is one thing, but connecting them and bringing them to some kind of formal resolution is quite another. Morau’s poetry falters in a rather literal ripping out of the Titian canvas to reveal a funeral parlour and coffin (with Facco laid out) behind, while Rodríguez as a figure of death dressed in a shiny gray bodysuit looks as if he has climbed out of the pages of a comic book — a crude climax to the trajectory from Eros to Thanatos.

Siena is made up of so many fragmented, interacting episodes it is difficult to find a unifying element, unless we make Morau’s imagination the source — Siena as a kind of unintended autobiography. What does unite the entire work, however, is the sumptuous lighting (again a collaboration of La Veronal and Enric Planas) as one might expect from a director with roots in cinema and photography: the triumph of the visual over the intellectual.