UNTIL OUR HEARTS STOP
Meg Stuart / Damaged Goods & Münchner Kammerspiele
© Iris Janke
Meg Stuart’s most recent group piece, Sketches/Notebook (2013), cleaved to that raw and impetuous state where desires arise, fleeting and acute. The dancers seemed to metamorphose into vibrating beings equipped with startling sensory organs. Constantly in movement, they roamed perilous paths, on the border of trance, alert for the slightest energy current – just as they were in VIOLET (2011). With a team of six performers and three musicians, Meg Stuart continues her research and rewrites the rules of the game, where the key word is contact. UNTIL OUR HEARTS STOP unfolds on the territories of sensory experience, desire and its modes of expression, so close to the skin. The barriers and limits of the body, places of liberty, fears and fantasies; these become materials for an exploratory performance that is at times playful, naive and desperate, and that challenges itself to create intimacy in a context of public representation. The performance space, resembling an underground nightclub or an arena, quickly becomes susceptible to a certain magic, which conjures up the marvels of everyday life. To build trust; to engage with each other in new ways; this is an old story shared out in the centre of a new community that has a deep trust in the body, in its buried memories, in its symptoms, in its ability to heal. UNTIL OUR HEARTS STOP conveys a vital ability to feel in contact with others and the world, and thereby captures its audience.