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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.
Art between porn and modernism
Bach in a world without instruments
Scoring Satan and the spheres
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