DanceWorks Mainstage Series presents Adelheid Solos
April 24-26 @ Enwave Theatre
By Leandra de Valois-Franklin
Toronto-based dance artist Heidi Strauss recently returned from Prague to present Adelheid Solos, a multimedia programme consisting of a remount of her 2002 work Das Martyrium (a haunting portrayal of madness inspired in part by Joan of Arc), as well as the world premiere of her newly created solo Ohne, which examines memory and the process of starting over. The word Adelheid, meaning ‘exalted nature’ or noble intent, is the root word from which Strauss’ name is derived, and is a fitting description of the work’s relationship between history and the present.
As a graduate of the School of Toronto Dance Theatre, Strauss has spent the past 14 years establishing herself as an independent dancer, having founded an environmental activist group called Earthdancers in 1989, acting as co-artistic director of Four Chambers dance projects, as well as choreographing, teaching and writing. This highly intelligent, motivated artist methodically researched thematic ideas for Adelheid Solos, communicating sophisticated theory within a concise physical monologue integrating text, theatre, video and an abstract score by Jeremy Mimnagh.
Das Martyrium functions as a tribute to exalted heroes, depicted by Strauss through several passionate female figures including Joan of Arc and an autistic schoolmate from Strauss’s childhood named Emma, both of whom are possessed by imaginations beyond their control. The piece at first appears to run the gamut of cliché contemporary interpretive dance, including repetitive “organic” movement, mimed hand gestures (somewhere between sign language and charades), and the use of props (in this case a sword and fencing mask); all this to a soundtrack of trickling water and fragments of conversation, both English and German. As the theory behind Strauss’s choreographic choices unfold however, it is clear that there is a method to her madness, as rich imagery and symbolism are revealed within the small confined area of center stage in which she isolates herself. With hands and knees bound in dressings, Strauss emerges both as a vulnerable fighter and strong survivor.
Ohne may appear quite similar to Das Martyrium in terms of movement vocabulary, but the story involves more abstract concepts, depicting less of a defined character. Ohne, meaning ‘without,’ explores expectation and the process of starting over, as Strauss repeatedly falls violently to the ground only to spring back up and continue moving with precision, twisting and curling her limbs and torso. The work delves into deeper psychological territory regarding the relationship between reality and imagination, dividing the dance into two worlds, represented through drastic light changes. When the stage is brightly lit, Strauss compulsively sets up the stage floor, pacing back and forth in her heels as she nervously shakes her keys, scratches her head and acknowledges the audience as voyeurs of her immediate experiences. As reality passes into an external realm, one represented by darkness, highlighted only by small kaleidoscopic fragments of colour, Strauss appears to be reliving the past. A frightening, ghost-like image projected on the backdrop suggests a tormented history which she is unable to escape.
Strauss’s interpretive dance is highly cerebral, but boarders on the inaccessible towards newer dance audiences. Reading reviews from various sources, it is evident that not everyone comprehends the deeply layered work, which at first glance appears simplistic-almost formulaic. It is the kind of material that forces the viewer to think deeper about the messages or concepts being conveyed. Strauss herself speculates that contemporary dance is often overlooked due to the fear “of not getting it.” Judging by the small audience, the majority of which were colleagues and friends of the artist, contemporary dance certainly lacks the draw that other art forms possess.
Work such as Adelheid Solos definitely merit wide attention and close investigation. Patience is the key here; a dancer is rarely compelled to devote so much time and effort into creating a meaningless sequence of movement. Clues relating to the work’s meaning, whether literal or abstract (or both in the case of Adelheid Solos) can be extracted and translated from various areas of the overall stage production, including movement, sound, lighting, video, and props. Of course, if all else fails, there’s always the programme notes!
