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IMMORTAL DESIRES - A "dancical" in 19 scenes
BELLYDANCE EVOLUTION
Report: Marcel Bieger
Photos and layout:
Konstanze Winkler
Konstanze Winkler
Img. BELLYDANCE EVOLUTION Poster © BELLYDANCE EVOLUTION
The scenery is as simple as it is effective: Some panels of fabric hang loosely from the back wall and are illuminated by spotlights in different sequences and changing colors. Out of this emanate the most wonderful and amazing optical effects. The audience is enchanted without registering it.
The music was composed by Paul Dinlettir, who without doubt feels at home with this, because he also wrote the music for the BDSS tours.
The music was composed by Paul Dinlettir, who without doubt feels at home with this, because he also wrote the music for the BDSS tours.
The dances all contribute to the progress of the story so that we not only see technically and aesthetically wonderful art, but also very emphasized and passionate performances – the dancers can only express themselves with their dance moves and with their gestures and mimics to tell their story. On stage there is continually something going on so that you never get a chance to feel bored. While at one end of the stage a scene is fading out, the next one comes to life at the other end of the stage. Always something is happening, always there is movement. But now enough of lectures, please lean back and let yourself be enchanted by “Immoral Desires”:
Scene 1.) Thor has invited the gods to his celestial party, and the guests come from near and far. Medusa is especially thrilled to meet Apollo there, she’s just dying to see him again. The “party people” arrive and dance their greetings. We see the “supporters” each with a short introductional dance and then all together in a long chorus line. Alba Hayal performs an own solo, a very vivid pop cabaret (like the others). Now the primary dancers show themselves, everybody with its own solo, after them the dancing men with some traditionally whirls and jumps. Last not least the drummers, the ensemble is complete, the audience is keyed to the show, let the party begin.
the supporters dance a formation
Alba Hayal
front: Elisabeth Strong and Kaeshi
Persephone, Aphrodite and Peitho
The Cossack dancers Guram and Zurab
"Oracle" Sharon Kihara and ensemble
2.) Medusa only has eyes for her Apollo who but doesn’t seem to notice her. So she dances her most passionate raqs sharki only for him and gives her very best, but he doesn’t even watch.
3.) Thor takes his tabla and fills the hall with a rhythm which nobody can resist. The guests flock on the dance floor, only Medusa leaves in a gloomy mood. Even more annoying for her is Persephone, who is enraptured by the music and dances the sweetest Bollywood, alone at first then with some dancers of the ensemble, a very vivid dance with nothing of the “over sugarsweetness” which sometimes accompanies this genre. Apollo’s attention is captured, he walks to Persephone, they look into each others` eyes, they dance a romantic waltz together, and she gives him her scarf as a pledge of her love.
Medusa dances for Apollo
The Bollywood ensemble: Eglal, Alba Hayal, Katka, Kaeshi, Aisa Lafour, Louchia
Persephone gives her scarf to beloved Apollo
Apollo and Persephone are dancing a waltz
Persephones Bollywood solo
Thor beats his tabla
Persephone with her ensemble
4.) Medusa is jealous and boils with rage. She persuades her friend Thalia to distract Apollo and to steal the scarf. Friends stick together and while Apollo’s attention is diverted, Medusa charms the rival to a far away place. Pandora and Thalia appear on the stage and argue about a sword. Thalia prevails und performs a melancholy sword dance to gypsy music, the audience sees very aesthetic acrobatics.
Quarreling over the sword
Thalia and Pandora snatch the scarf
Thalia...
...with an acrobatic sword dance
but he has his eyes onPersephone
in the midde: Sharon Kihara, Kaeshi, E. Strong, Jillina
Medusa, Pandora and Thalia
„IMMORTAL DESIRES“
The script consists of nineteen scenes which give the play structure and order. The scenes are differently long but can be distinguished easily by the dances that are going on. In the next chapter a shortened narration of the script will follow furnished with what is to be seen on the stage as dances.
The script consists of nineteen scenes which give the play structure and order. The scenes are differently long but can be distinguished easily by the dances that are going on. In the next chapter a shortened narration of the script will follow furnished with what is to be seen on the stage as dances.