©MatthiasZölle

Labyrinth

A choreographic space

by Daniel Condamines and Daniel Goldin

‘Time trickles silently’

"(...) Condamines is a very musically gifted choreographer (which is not a matter of course). The musical center of the piece is Bach’s English suites, adapted for accordion, however, with a very impersonal sound. But every agogic shift of the music, every surprising change is mirrored in the dancer’s gestures. The mind is perpetually astounded. Goldin continues to develop the theme of the ritual. It’s surely no coincidence that texts of Jorge Luis Borge, unescapable labyrinths for thoughts, appear in the programme brochure. While Condamines’ dancers are unified with the ritual, Goldin’s troupe proceeds through the auditorium. Their seductive hip movements and lascivious contoctions seem to seek a way out, at least, or to freedom. Goldin’s scenario even seems to transform Bach’s music. It pushes the dancers, doesn’t set them free."

Stefan Hessbrüggen, Münstersche Zeitung, 25 April 1997


‘Inmidst the labyrinth of life’

"(...) Giorgia Maddamma is the link between the cheerful optimistic first part of the evening (created by Condamines) with the charming humour of playing kids and non-competing adults and the melancholic apocalypse of Goldin.

Both deal independently with the theme ‘Labyrinth’ in their so-called choreographic workshop. The result amazingly makes sense and shows that the dancer Condamines and the dancer-choreographer Goldin have worked together for years now. Both parts of the non-stop evening are connected by the musik (Bach suites, very interestingly adapted for accordion, and Japanese, Corean, Greek musik as well as variations of Pachelbels ‘b-a-c-h’-canon) and the costumes created by Katharina Gault: antique robes with geometric accents similar to the Triadic Ballets of Oskar Schlemmer. (...)"

Marieluise Jeitschko, Neue Westfälische, 25 April 1997


‘Blind in the labyrinth without a little help’

"(...) ‘Labyrinth’ is not only a two-part piece but - as Goldin and Condamines describe it - a ‘choreographic workshop’. They emphasize that it is still a unity although it is created by two choreographers - there is one theme dealt with by two different artistic temperaments. Condamines starts with three women and two men in Cretan looking costumes: big colourful patterns, an apron over long trousers for the females, long skirts for the male dancers. After exactly forty minutes, four fifths of the crew are replaced by four new dancers coming from behind the audience. They appear in identical costumes and start to dance their four counterparts. Only Giorgia Maddamma who seems to play the key role of this piece is not replaced. Both halfs of the Münster ‘Labyrinth’ are abstract choreographies: Stories may rather be superimposed than interpreted. Condamines uses a maze in the background more obviously as a hiding place for the dancers than Goldin does. He imposes abrupt movements on his quintett reminding of the gesticulation of Martial Arts, however, they are more angular, maybe even more original. However, the piece only starts when Goldin’s dancers enter the scene which leads to a paradoxical situation. Goldin’s choreography is smoother and more pleasant than Condamines’ arrangement. The moves remind more of Ballett. The labyrinth in the background is made transparent and used for the aesthetically pleasing games with the silhouettes."

Jochen Schmidt, Frankfurter Allgemeine Zeitung, 6 May 1997

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