{"id":6671,"date":"2020-05-03T09:11:36","date_gmt":"2020-05-03T09:11:36","guid":{"rendered":"http:\/\/vilmapitrinaite.com\/?post_type=jetpack-testimonial&p=6671"},"modified":"2020-05-03T10:50:11","modified_gmt":"2020-05-03T10:50:11","slug":"nicholas-minns-on-somaholidays","status":"publish","type":"jetpack-testimonial","link":"http:\/\/vilmapitrinaite.com\/index.php\/testimonial\/nicholas-minns-on-somaholidays\/","title":{"rendered":"NICHOLAS MINNS ON “SOMAHOLIDAYS”"},"content":{"rendered":"\n

https:\/\/www.writingaboutdance.com\/performance\/vilma-pitrinaite-somaholidays-new-baltic-dance18\/<\/a><\/p><\/blockquote>\n\n\n\n

Vilma Pitrinait\u0117, We cie, Somaholidays at New Baltic Dance\u201918<\/a><\/p>\n\n\n\n

From the few works and works-in-progress I was able to see at New Baltic Dance\u201918, the emphasis was on the body as subject, on its expressive nature as an eloquent biological and physical means of communication before any psychological or narrative expectation is placed on it. This is the thrust of Vaidas Jauni\u0161kis\u2019s introduction to the festival brochure \u2018Hearing The Body\u2019. As he writes, \u2018I believe that before diving into new work, all creators of dance consider not only what they wish to say but also what the body says on that particular topic and how, at the end of the day, it adjusts the concept and original idea.\u2019<\/p>\n\n\n\n

From the beginning of Vilma Pitrinait\u0117\u2019s Somaholidays<\/em> it is the bodies of the three dancers (Pitrinait\u0117, Mantas Staba\u010dinskas and Darius Algis Stankevi\u010dius) that are the focus of attention; we rely on associations, visual references and transposed personal experiences to discern in these bodies a discourse that corroborates or interrogates our own. The discourse is based on Aldous Huxley\u2019s dystopian novel, Brave New World<\/em>, where \u2018\u2026if ever anything unpleasant should somehow happen \u2014 why, there is always soma to give us a holiday from the facts.\u2019 Huxley was one of the first intellectuals to experiment with controlled mescaline and LSD trips in the 1950s and wrote about it with evident relish in a separate essay, The Doors of Perception<\/em>. In Brave New World<\/em>, soma had become a readily available pharmaceutical product to take one\u2019s mind off the numbing reality of everyday life. What Pitrinait\u0117 has done is to imagine the daily routine of three friends as a series of repetitive, mechanical, interconnected and interlocking physical phrases; we might be able to hear them dancing were it not for Ar\u016bnas Periokas\u2019 manic mash-up of a booming, relentless clubbing beat \u2014 120 beats to the minute \u2014 that overlays and drives the performance. What the bodies paradoxically achieve in the course of the performance is a trance-like intensity of complex patterns that in themselves constitute an altered reality.<\/p>\n\n\n\n

We enter the performance in lighthearted mode through a projected film of the three friends hiking up a wooded hillside to reach a sunny clearing at the top, then lying in the grass to rest. The camera sees the trio from above, an eye that mediates a simple narrative that is easily recognizable and relaxed. On screen the figures are not full size so when the action metamorphoses to the stage the three dancers appear at first like giants posing in the dark for an imaginary photograph. From the blackout Vladas Serstobojevas\u2019 light scans up from the floor to reveal R\u016bta Junevi\u010diut\u0117\u2019s spring costume collection in forest patterns and colours: first the sneakers, then the sylvan leggings, followed by tight, tie-died t-shirts; tanned faces unfurl last behind sunglasses. The three are linked around the shoulders and waists, the two men looking cool on either side of Pitrinait\u0117 whose face is raised in a fixed, satiated smile.<\/p>\n\n\n\n

This is a holiday snap, one of the rare if not the only moment of stillness in the piece. Once the three start moving they never stop; movement becomes a form of thought, or perhaps a self-induced physical substitute for non-thinking. Because of the small scale of the theatre and Junevi\u010diut\u0117\u2019s stage design of a continuous white rectangle like an unrolled photographer\u2019s backdrop, the figures appear constantly as close-up body portraits; we cannot escape the onslaught of physical energy. By the end of the 40 minutes I am exhausted.<\/p>\n\n\n\n

There is another aspect to Somaholidays<\/em>\u2019 bodily discourse: Pitrinait\u0117 has chosen to work with dancers of different generations, so the signals their bodies emit add to the richness of the discourse. In his introduction, Jauni\u0161kis refers to age as another limitation that has been challenged and overcome in the drive to broaden the dance body\u2019s acceptance as a physical instrument, citing the 50-year performance career of Yvonne Rainer. On stage there is no disparity in quality between the three performers, only in the selection of vocabulary, so they all merge into one continuously evolving form.<\/p>\n\n\n\n

The climax \u2014 or flowering \u2014 of Somaholidays<\/em> is its breaking out musically and choreographically into three separate variations. Each dancer performs to a chosen song that Periokas has incorporated seamlessly into the score and the variations come across as the ultimate reward of the respective bodies to express themselves as they wish, unfettered, as if the effect of soma has finally found its mark. This mood continues in a return to the filmed outing, with the three revitalized dancers descending the hill to their car discussing the absurd reality of rehearsal schedules.<\/p>\n","protected":false},"excerpt":{"rendered":"

What the bodies paradoxically achieve in the course of the performance is a trance-like intensity of complex patterns that in themselves constitute an altered reality. … Continue reading…NICHOLAS MINNS ON “SOMAHOLIDAYS”<\/span><\/span><\/a><\/p>\n","protected":false},"featured_media":6085,"menu_order":0,"template":"","class_list":["post-6671","jetpack-testimonial","type-jetpack-testimonial","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"http:\/\/vilmapitrinaite.com\/index.php\/wp-json\/wp\/v2\/jetpack-testimonial\/6671","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/vilmapitrinaite.com\/index.php\/wp-json\/wp\/v2\/jetpack-testimonial"}],"about":[{"href":"http:\/\/vilmapitrinaite.com\/index.php\/wp-json\/wp\/v2\/types\/jetpack-testimonial"}],"version-history":[{"count":3,"href":"http:\/\/vilmapitrinaite.com\/index.php\/wp-json\/wp\/v2\/jetpack-testimonial\/6671\/revisions"}],"predecessor-version":[{"id":6741,"href":"http:\/\/vilmapitrinaite.com\/index.php\/wp-json\/wp\/v2\/jetpack-testimonial\/6671\/revisions\/6741"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/vilmapitrinaite.com\/index.php\/wp-json\/wp\/v2\/media\/6085"}],"wp:attachment":[{"href":"http:\/\/vilmapitrinaite.com\/index.php\/wp-json\/wp\/v2\/media?parent=6671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}