Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
As the spotlights rise tentatively, Abou Diab remains prone while, several meters above the stage, Mia Habis hangs limp in a harness.As the score veers closer to melody, Abou Diab stirs.Abou Diab is able to grasp her by the thighs before the machine yanks her back, then lowers her again. It is a choreography of attraction and retraction played out mechanically, while Habis' form remains dormant. The disk-shaped surface that invisibly confines the dancers' movement also serves as a screen.Complementing Abou Diab and Habis' interpretations of Rajeh's choreography, and the performances of improv veterans Kerbaj and Sehnaoui, is the work of Palestinian visual artist Nasser Soumi.Parallel to the stage at the start of the piece, by the end it stands at a 90-degree angle.The piece's mechanized aspect – the electric winches and harnesses working in counterpoint to Soumi's discreetly moving surface/screen – lends the piece an unexpectedly retro quality.
Does it matter that DIFF’s now a biennial film festival?
A quest for young adult glee in Beirut
Recalling two strikes and a martyr
FOLLOW THIS ARTICLE