![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
so i was thinking about dance and how it often strikes me as human language, body language, the body singing and shouting and stalling and squawking and expressing and refusing to express and all the wonderful and frustrating contradictions and frictions and fictions it can weave - and basically wondering why it is i don't respond to the contemporary work of la la la human steps in the way i used to.
the more recent work of Edouard Lock is undeniably beautiful (and exquisitely performed - in their way the soloists are as fierce on it as ever), and yet...
what has happened?
is it just me that sees a glassy kind of narcissism in the very introverted and tastefully rendered pieces?
is it just my fear of the bourgeois that causes me to regret the neo-classicist reworking of the Lou Reed piece Waiting for the Man, used in the film of Amelia? Music that strikes me as designed to impress documentary makers.
The use of traditional motifs such as the marionette v. svengali may after all be genuinely reflective and expressive of Lock's own experience...
...but it is shuttered, and there's a certain kind of preciousness that is suffocating.
( the steps go under here )
the more recent work of Edouard Lock is undeniably beautiful (and exquisitely performed - in their way the soloists are as fierce on it as ever), and yet...
what has happened?
is it just me that sees a glassy kind of narcissism in the very introverted and tastefully rendered pieces?
is it just my fear of the bourgeois that causes me to regret the neo-classicist reworking of the Lou Reed piece Waiting for the Man, used in the film of Amelia? Music that strikes me as designed to impress documentary makers.
The use of traditional motifs such as the marionette v. svengali may after all be genuinely reflective and expressive of Lock's own experience...
...but it is shuttered, and there's a certain kind of preciousness that is suffocating.
( the steps go under here )
