Large street theatre shows are commonly built on a schematic dramaturgy. Scenes presented with varying virtuosity are grouped around impressive visual elements, whether they be dance, live music or jugglers. Most directors are not bothered with telling a story in detail, instead they insert improvisational elements between well-rehearsed stunts. Some confusion has developed when it comes to classifying performances: the borderline between circus shows and large street theatre performances has become blurred. The genre that originally owes its worldwide fame to the Canadian Cirque du Soleil has been adapted to the street. The only difference is that once out in the open, even more creative opportunities arise. At last year?s Sziget, the Spanish street theatre La Fura dels Baus used an industrial crane to lift fifty people dressed in white. This year, the French performance featured an extraterrestrial white boat rolling under the trees, reminiscent of carnival vehicles.
But there were also some striking differences between last year?s Spanish and this year?s French shows. The Spaniards introduced some extraordinary visuals (in addition to the crane, the dramaturgy was built on a revolving wheel filled with people and some air-acrobatics), but the performance as a whole was fragmented and the transition scenes were nondescript. Compagnie Malabar did not present overwhelming large-scale visuals but they were still able to grab viewers? attention and not lose it altogether. Their well-structured scenes featured a healthy balance of juggling, acrobatics and pyrotechnics.
The director has built this show around seven main characters. Four creatures on stilts dressed in white, a Lucifer-like figure dressed in black and silver, also on stilts, two caricature-like humans, and male and female boat captains who also acted as ring masters. The rest of the crew consisted of ?court musicians? playing bass guitar and wearing Baroque headdresses, their powdered-faced singer, wearing a bustle under her skirt, and the sailors who acted as assistants.
The monstrous white boat moved around for some 15 minutes before releasing its anchor and despite having only seven main characters, the playing field remained ever dynamic even after that. Much was happening already as the boat was approaching its port: as the siren-like singer stood leaning against the pole and a tiny female acrobat (later to fill the role of ring master) presented her number. The sight of an incredibly flexible body hanging and revolving on a pair of silky ropes is not uncommon at similar shows by contemporary troupes. In this performance we witnessed quite a few technically complex elements, yet their execution, the lack of pointed feet and the slightly hasty performance style somewhat damaged the overall effect. However, a number of winged creatures lurking around the boat and a little devil wearing hedgehog spines made it rather captivating.
It was difficult to decide about the characters balancing on stilts whether they belong to the magical boat or they are just strange creatures in an imaginary sea. These characters were trying to make contact with viewers as they were walking by the boat: they touched them, rubbed against them or even cuddled them. However, after the boat stopped in port, such direct contact between the characters and the viewers stopped and the performance continued with the traditional dividing line between the stage and the audience. A dance routine based on mostly static postures somewhat flattened the show but a number performed by the creatures on stilts, a virtuoso pole dance performed by the male ring master and the skipping rope number (which was a true highlight) buoyed Voyage des Aquareves. The Lucifer-like creature had outstanding technical skills and great self-confidence to match. Perhaps this created quite a contrast between him and the female ring master in his company, whose skills were well below the troupe?s standards. It is perplexing how a person with such poor dance skills could be given such a central role in this performance. She and her partner seemed to engage in a battle with the rebelling little devil but this fight scene was not among the show?s best moments. Their conflict was not a real one and it worked rather to attract attention to the devil?s breathtaking stunt: the somersault on stilts.
French design and an easy-going French attitude permeated the playing field and the whitewashed show came to an excellent ending when the cordon separating the stage from viewers opened and foam up to the waist was poured on everyone present, culminating in interactive delight.
Compagnie Malabar has performed at nearly 1,200 venues since it was founded in 1981. The experience of watching Le Voyage des Aquareves not only paved the way for the adventures that followed at the Sziget but this impressive show also conquered the hearts and minds of island-goers.
Author: Virág Vida / Photo: Tímea Karip
