Twyla Tharp, at the vibrant age of 84, remains a commanding figure in the dance realm, captivating audiences at the Venice Dance Biennale. “Do you want to guess how much I could deadlift in my 50s?” she quipped to artistic director Wayne McGregor post-performance. Hesitant, McGregor didn’t venture a guess. “Two hundred and twenty-seven pounds!” Tharp beamed, a testament to her enduring vitality.
Tharp, a choreographic powerhouse for over 60 years, has seamlessly blended styles across ballet, Broadway, and contemporary dance. This year, she is honored with the biennale’s Golden Lion for lifetime achievement, further solidifying her legacy.
With her characteristic wit, Tharp’s work reflects her pragmatic and precise approach. While only two pieces from her extensive repertoire are featured this year, Diabelli, set to Beethoven’s 33 Diabelli Variations, exemplifies her no-nonsense style. The piece delves deeply into musical exploration, showcasing her dancers’ technical prowess in a fluid and dynamic display of choreography. Unlike much contemporary dance that often favors mood and vibe, Tharp emphasizes a continuous series of deliberate steps that flow with clarity and intention.
The biennale also hosts the European premiere of Slacktide, a fresh work featuring elements from Tharp’s past creations. This performance adopts a more contemporary aesthetic with softer lighting and dancers in casual attire. It showcases a unique blend of solos and group dynamics, adding a sense of freedom and versatility while still engaging in serious dialogue about choreography.
The Silver Lion award for outstanding upcoming choreographers went to Carolina Bianchi from Brazil, whose work parallels Tharp’s commitment to artistry, albeit from a different perspective. Bianchi’s Cadela Força trilogy, known for its provocative subject matter, explores themes of trauma and societal norms with striking honesty. The latest installment, The Brotherhood, delves even deeper into her personal narrative surrounding sexual assault, using a combination of film, performance, and audience interaction. Though lengthy, Bianchi’s exploration offers an intense, critical examination of the systemic issues facing women today.
Amid the diverse offerings at the biennale, Australia’s Chunky Move presents U>N>I>T>E>D, led by Antony Hamilton. This performance merges human and machine, featuring dancers adorned with mechanical limbs that blur the lines between the organic and artificial. While its aesthetic recalls a past era of cyberpunk, the piece raises questions about technology’s role in our lives. Yet, despite the intriguing visuals, it lacks a profound commentary on the challenges posed by this fusion.
As the Venice Dance Biennale unfolds, these performances remind us of the boundless creativity in contemporary dance while also challenging societal norms.
The Venice Dance Biennale runs until August 2.
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