Sylvie Guillem - review

Sadler Wells

, London

At age 46, Sylvie Guillem may have abandoned their old roles of the dancer, but she remains one of the most amazing dancers on the scene today. Although the brightness of his youth is past performance, with the glamor of provocation, his latest project confirms that the intelligence of his dancing burns even brighter.

In 6000 Miles Away, Guillem has worked with choreographers William Forsythe and Mats Ek, who are familiar with previous collaborations. Both, in addressing his relationship with age and dance, show mixed views Guillem is fascinating.

Rearray

Forsythe is a duo Guillem and his former partner of the Paris Opera The Nicolas Le Riche. This piece is deliberately unstarry, low light and the score of its parts by Morrow, David and remote control. However, austerity is concentrated in a lab environment fixity on stage like two dancers explore the possibilities of classical vocabulary shared.

sometimes tempting, Guillem and Le Riche allow their bodies to fall into familiar patterns of virtuosity - intermittent leaps and arabesques bear shakes - but start to slip and fragmentation and to collect the material separately. The rich, elegant knee flexion, stutters a few feet in this position - a clown prince turned to anxiety. Guillem, with the support of a fluid graceful pas de deux, continues to rotate and adjust its position, as if defying the Rich off.

In consideration of the constant awareness and misunderstanding, it is a piece that makes few concessions to the audience. However, it is hypnotic to behold. The accuracy of the angels and the pace of the two dancers, as they convert their bodies and techniques behind the interior is a dissection of how a love letter dedicated to his art and crafts.

A completely different

Guillem was published in Goodbye, the solo created for her touching grace Mats Ek. She was chosen as a middle-aged woman in sensible clothes suburbs, by the door of his home life, chose to dance a dreamer, Lucas dream of youth.

A little stooped, limping on his socks and shoes, jacket, Guillem embodies perfectly the awkwardness of his character, without being cloying or condescending remote. To kick off your shoes, to get to ecstasy or to register recall the frustration of his character, Guillem is fun too. When the family dog ??appears at the door (which doubles as a video screen) and shook his fist at it, is curiously gently surreal.

Beautifully

also launched at the inevitable end when the woman from the crowd of family at the door, awaiting his return. Forced to wear shoes and give up their dance, Guillem simultaneously delivers this fact. Wild and reassuring

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