"Beutler pushes the boundaries of this microcosm"

by Fritz de Jong

Two writers who want to overcome their embarrassment for dancing in public are given a soft landing in Microcosm, thanks to the dedication of two professional dancers. And the audience finds it entertaining, too.

In recent days, much has been written about the dance debut of P.C.Hooft prize winner Arnon Grunberg and the acclaimed Flemish poet Charlotte Van den Broeck. Especially about their motivation. In their weekly correspondence in the newspaper De Standaard, the authors concluded that dancing was the most shameful thing they could think of.

Open mind
To combat that shame with an open mind, they approached dance maker Nicole Beutler. In Microcosm, Beutler found a form that elevates the project above the level of public therapy. She sends the non-dancers onto the floor with two professional dancers. At first, Rob Pollman and Liah Frank pose as patient facilitators. Toward the end, the structures become more complex, making the contribution of the non-dancers as essential as that of the pros.

It is clear from the start that Van den Broeck – slim, straight build, twenty years younger than Grunberg – has more to offer as a dancer. Seriously and with palpable concentration, she throws herself into the movement material that is offered to her. . Grunberg does not lack dedication either, yet he follows a different strategy. In a column he wrote at the beginning of the rehearsal process, he set himself the goal of mastering the split. “If the split doesn't work, there's always the comedy, the fluttering human.” Well, that split didn't work. And so Grunberg, who simply keeps his glasses on when dancing, lets the comic side shine through. This threatens to turn clownish in a solo in which he mows down his surroundings like a madman with an invisible tennis racket.

Barren weather
Supported by a light-hearted composition by Beutler's regular composer Gary Shepherd, the four performers grow towards each other in an organic group process. Beutler pushes the boundaries of this microcosm by also naming the role of the public. Grunberg praises the visitors who came to the theater despite harsh weather conditions. Van den Broeck immediately puts the audience back in its place: it is therefore the intention that spectators keep their mouths shut. The reflections on the theatrical situation are not very profound, but excite just enough to engage the viewer.

The professional dancers, especially Frank, add an extra layer with their personalities, in the way they seek a connection. With large dark eyes, the Israeli dancer continues to explore Grunberg and Van den Broeck. Curious about what goes on in the minds and bodies of the writers. Hungry, as a trained dancer, to learn something from these non-dancers.

Read the original (Dutch) article here >>