WEG

Why is WEG by Ayelen Parolin, a choreographer unique in contemporary dance, so surprising? Where do these sparks come from? Surely it comes from the grace which arises from the out of crazy dance. This grace can only happen on the bare and white stage, in the here and now, with seven dancers in festive outfits: here, lamé shorts; there, a candy pink leotard; elsewhere, the misty ruffles. You only have to see the joy with which they dance, the voluntarily multiple, extravagant, abundant and tumultuous movement. To the offbeat, uneven music of pianist and composer Lea Petra, they dare to step into colourfulness.

WEG works on the progressive disruption of the choreographic phrase of each dancer resulting in a cacophony of uninhibited gestures and attitudes. The dance slides openly towards a process of self-organization but a process of self-organization regulated by the dynamic systems of physicist Pierre C. Dauby.

With almost surgical precision, from Yuval Noah Harari’s best-selling Sapiens: A Brief History of Humanity to her longing for humans dancing to the rhythm of her own vibration – without making it explicit – Ayelen Parolin plays a disturbing ambiguity between mastery and repression, humour and elegance.

Ayelen Parolin is an associate artist at the Théâtre National Wallonie-Bruxelles.