Press
Article excerpt about Vibration in the Hungarian dance magazine, Táncművészet
Rita Góbi - Ryuji Yamaguchi: Vibration
This performance is extremely minimalist, not only in its physical representation, but also in its stage scenery. Tension is sought in the continuously changing space through the rhythm of geometric shapes shed by the stage lights, designed by Pavla Beranová. These shapes created through light not only provide structure to the space, but also reflect on the relationship between the dancers, as they also portray proximity or distance between them.
Vibration therefore is a depiction of a journey from an intertwined existence, where one cannot exist without the other to the pain of being torn apart, conveyed with mathematical accuracy and a multitude of controlled movements in an extremely simplified space where alternating squares and circles create a symbolic world. It is as if Malevich's suprematist images were transposed into the language of movement on stage, where geometric forms become representations of the entire world.
It is precisely due to this radical abstraction that we can interpret the performance both as a dramatic relationship between two people as well as a collision of opposing worldviews.
This leaves the viewer in uncertainty in a good sense of the word, as they follow the bodies' movements parting from each other while simultaneously perceiving the tension arising as forces extinguish each other in the world.
There is a cruel purity in this representation, a sincerity free from lies, which does not break away from the magic spell of restraint. It is a mirror that encourages us to not lie to ourselves or to the outside world. We meet the promise of a pure life that carries the possibility of crisis and pain while unequivocally excluding distortion and self-deception.
Life can be described as a circle. Beyond the language of the art of painting or mathematics, life can also be portrayed through the language of dance, as Vibrations by Rita Gobi and Ryuji Yamaguchi clearly proves.
The original article was published in the Hungarian dance magazine – Táncművészet.
See the full article here.
