from a crawl into flight
by Douglas Messerli
Martha Clarke (director and choreographer)
Garden of Earthly Delights, music by Richard Peaslee / Minetta Lane
Theatre, New York City / the performance I saw was a matinee on January 17,
2009
Hieronymus Bosch's sixteenth century
triptych of paradise, earthly delights, and hell is the source of Martha
Clarke's dance performance first presented in New York in 1984 and revived in
1987 at the same theater in which I saw it this year, at the high-ceilinged Minetta
Lane Theatre.
And while Bosch presents us with three versions of what delight might
signify: the paradisiacal serenity before the fall, the lusty play and abuse of
the earthly world, and the dark and sadistic tortures of Hell, Clarke's work is
more clearly inspired by a Puritan-like vision of reality, as she explores,
through body and motion, mankind's transformation from animal being to
gluttony, greed, lust, torture, war, and murder.
One of the loveliest moments in a hour of many wondrous scenes occurs at
the very beginning of the work, as the eleven dancers gracefully move forward
on fingers and toes, a species not yet fully able or willing to stand erect.
Yet soon, bearing branches in ritualistic gestures they come together as
humans, in pairs and in small groupings, that predicts the inevitable fall from
grace, Eve biting the apple and Adam both as the snake sensuously writhes
between them.
From the beginning of this revelation of flesh, I wished that Clarke had
allowed her dancers to perform naked instead of being ensconced in the sickly
flesh-colored body stockings that wipe out all but the general shapes of their
handsome bodies. I say this out of no prurient interests—dozens of Broadway
musicals and plays these days feature nudity—but am simply suggesting that the
appearance of dancers such as Sophie Bortolussi, Daniel Clifton, General
McArthur Hambrick, and Whitney A. Hunter seems an occasion to truly witness the
delights of human flesh.
Some figures gracefully dance while others imitate copulation. Priests
(played by the musicians of Richard Peaslee's haunting score) attempt to
control the various disruptions, including a few individuals who have suddenly
gone aerial, flying in and out of the stage frame through pulleys and ropes.
However, their attempt at order ultimately results in even greater
torture—represented as the Spanish Inquisition—of these free-spirited souls,
eventually chaos breaking out.
In the final hellish spectacle almost all dancers—again sporting
bodytights—take to the ropes, spinning almost out of control over the audience,
tumbling head over heels high above us, who have become almost voyeurs of the
human hell to which we are witness. It is terrifying—and liberating.
By the work's end, we realize what miserable beasts our species has
turned out to be, how spirituality and ritual have been converted into warfare
and other acts of hate. As the audience turned to go, a woman in front of me
commented: "Not a very encouraging portrait of our kind, is it?"
Perhaps not. But what other earthly creature could take their bodies
from a virtual crawl into flight?
Los Angeles, February 5, 2009
Reprinted from Green Integer Blog (February 2009).