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Bremerhaven

Ihsan Rustem, Alex Kros, Alfonso Palencia Emotions of Dance

by Arvid Storch

Bremerhaven is worth a visit not only for the "Havenwelten" urban development project. Alfonso Palencia, since 2022 director of the small yet exquisite local city theater ballet with 14 dancers, aims to present contemporary dance to his audiences and allow his dancers to experience as diverse choreographic styles as possible. With the three-part evening Emotions of Dance, he achieves both.

It all begins with a loud heartbeat, to which the dancers twitch their bodies like giant hearts. Ihsan Rustem's Le Fil Rouge was created in 2016 for the American NW Dance Project and celebrates a — sometimes witty, sometimes dreamy — thoroughly youthful joy of life and love. The songs of six singers (from Yma Sumac to Edith Piaf to La Lupe) take the audience on a musical journey of emotions and form one of the common threads of the piece. Rustem has woven another into the sequences, with flashes of red peeking through the simple black and white costumes. The Pas de deux and group scenes can certainly be viewed with a wink: they are humorous, but never silly, and full of curiosity about life.

With This is Tomorrow, young Greek choreographer Alex Kros contributes the first premiere of the evening. His dancers, with outstretched arms, strive in all directions, claiming plenty of space for themselves. They repeatedly encounter each other in different constellations, but these encounters remain fleeting. Only at the very end does a couple find themselves together, after an intense struggle with and for each other. The fleetingness of the shared moment as a metaphor for an unstable world, the conflict between the longing for community and the urge for individual freedom — is this what our tomorrow looks like?

The evening concludes with a world premiere by Palencia: In Beautiful Figures, the ballet director begins by celebrating the beauty of his dancers. The men in short patent leather trousers, the women in patent leather dresses, are presented by the choreographer like scantily clad statues, perfectly illuminated by numerous spotlights. But before the audience is bored by their external beauty, Palencia explores the emotional states of his characters, which fluctuate between fear and exuberance, in several scenes, each dedicated to a specific emotion. Even though their encounters develop a fascinating interpersonal beauty, they are not permanent. The final scene shows a group of proud but lonely shadows.

Again on 12 April, 2, 9, 17 May;
www.stadttheaterbremerhaven.de