Transcen|Dance Challenge will debut a brand new immersive dance/theatrical occasion titled Ophis. The work takes the traditional Greek fantasy of Medusa and reimagines it for the fashionable day.
The important thing to the brand new story is that Medusa is not simply the bitter sufferer of a curse, however a logo of resilient empowerment. It’s a journey about love and vulnerability, and transformational self-discovery, and takes the stage from April 4 to 11.
The corporate was accountable for the nicely acquired productions of Eve of St. George and A Grimm Night time, and like these productions, Ophis will happen on 4 ranges of the atmospheric The Nice Corridor whereas the viewers wanders out and in of the story.
As you enter, you’ll be assigned an space the place your story will start. The actors and dancers will carry out the work across the viewers, by richly embellished units on every flooring.
Ophis (which implies serpent in Greek) consists of an unique rating together with dance and efficiency, and opens on April 4, 2025.
We spoke to creator and firm Creative Director Julia Cratchley and composer Owen Belton in regards to the manufacturing.
Ophis: The Interview
“It’s thrilling to dive into a brand new world,” says Cratchley. Earlier productions have revolved across the fairytales of the Brothers Grimm, and Stoker’s Dracula, each far faraway from classical Greek mythology.
Historic Greek mythology already comes with a variety of interpretations over the centuries. Julia says Ophis is kind of totally different from Transcen|Dance Challenge’s different productions. “It’s made it tougher and simpler,” she says. In the long run, it additionally supplied the chance for creative freedom. “It’s so different.”
Cratchley immersed herself in analysis of the time and interval, in addition to the varied interpretations of the Medusa legend.
“I really feel that this manufacturing may be very totally different from very Grimm Night time and Eve of St. George,” she says. That goes to each story and aesthetics. Grimm Night time and Eve of St. George shared sure traits in an overlap of fantasy and goth.
“That being mentioned, I don’t need to give an excessive amount of away.”
The Music
By the point Julia contacted him final summer time, Owen Belton knew the story he’d be writing music to.
Owen says the music has a recent really feel, quite than being impressed by any historic interval. “Considerably much like the earlier two exhibits,” he says. “There’s a bit extra voice within the rating this time.”
Belton describes his influences as being everywhere in the map, from pop music and bands like Radiohead to modern classical stars like Philip Glass, Arvo Pärt, and Michael Nyman.
His electroacoustic music is atmospheric, the rating alternating between melodic and rhythmically pushed sections. “One in all my academics was Barry Truax,” he says. Truax, an electroacoustic composer and researcher, is taken into account a pioneer of granular synthesis.
Owen’s process just isn’t solely to offer music for the efficiency because it unfolds, however to weave it across the a number of ways in which the identical story is skilled throughout 4 flooring.
“It’s one rating all through,” Belton explains. He’s devised it in order that it will possibly serve the aim of all the pieces that’s happening within the present at any given time — on every of its 4 flooring, in different phrases. “It must be considerably versatile ultimately,” he says. There are key moments the place the music reacts in particular methods.
“Positively on the primary go of the music, I’m specializing in the primary story line,” Belton says.
“Generally we do have to return and modify,” Cratchley provides. That occurs throughout rehearsals, when the music may be superb tuned to accommodate the varied storylines as they unfold. “That is the great thing about having a composed rating.”
A Medusa for the twenty first Century
The unique story of Ophis takes many acquainted components from the myths, books, and tales, including its personal distinctive stamp. “We begin with Medusa as an immortal human,” Julia explains. The story takes her from earlier than the curse that gave her a head of snakes to her emergence afterwards.
“However there are undoubtedly components that I’ve pulled from varied interpretations,” Cratchley provides. “We’ve taken our personal liberties to flesh her out as we need to.”
“It’s undoubtedly a contemporary retelling. We’ve reimagined her as a logo of energy and resilience.”
Fairly than revolving round destruction and vengeance, Medusa’s story is certainly one of self-discovery. “We’re actually attempting to problem these conventional narratives.” No extra damsels in misery, in different phrases. “Thus far, how we’re creating Medusa, she has loads of grit.”
The snake itself, the image she carries on her head, may be interpreted in varied methods. “It’s attention-grabbing that she’s often called this monster, however she’s also referred to as a logo of safety.”
The music follows the scenes and the motion quite utilizing character-based themes. Owen has a tip for the viewers members who need to observe the story alongside.
“Hear for the voices, I’d say,” Belton explains. The vocals, he provides, assist to drive the narrative. However, at occasions, slightly thriller is what’s referred to as for. “We’ve made it deliberately not all the time tremendous clear, what’s being mentioned. However, there are moments of readability.”
- Discover tickets and extra details about the performances from April 4 to 11 [HERE].
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Anya Wassenberg is a Toronto Metropolis Editor at Ludwig Van. She is an skilled freelance author, blogger and writing teacher.
