KÖRPER

Sasha Waltz’s KÖRPER: Bodies meet wall, artfully

White Bird's first foray into contemporary German choreography runs into a wall—and the bodies that run into it

Dancers took the stage at the Portland premiere of Sasha Waltz’s KÖRPER before the audience had finished taking their seats. While all the lights in the Newmark Theatre were still on, the industrial sounds of Hans-Peter Kuhn’s multi-channel soundtrack blurted from speakers around the theater. Two dancers approached the the massive wall that bisected the stage diagonally (think Richard Serra’s Tilted Arc), and at the same time individual body parts—a foot here, some fingers there—emerged from two small holes in the weatherbeaten, blue-grey surface of the enormous monolith.

This was not going to be an ordinary show.

Designed by Thomas Schenk and Heike Schuppelius, both of whom studied architecture, the wall is unlike any set seen before in a White Bird performance. The first German company ever presented by White Bird, the presence of Waltz and her amazing wall in Portland owes much to the assistance of the organizations collaborating in the Year of German American Friendship 2018/19. With all that in mind—and considering that the dancers alone represent more than a dozen countries—the show crackles with a sense of a great converging of effort and ideas into a singular experience, marked by a monumental wall.

Sasha Waltz and Guests brought a strong dose of experimental German dance to White Bird this weekend./Photo courtesy of White Bird

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