[Review] IV by SERAFINE1369 at The Place – a conundrum
Matthew Paluch sees IV by SERAFINE1369 in London – “I was taken to all manner of places, ranging from boredom to intrigue and back again.”
| Title | IV |
| Company | SERAFINE1369 |
| Venue | The Place, London |
| Date | 9 April 2024 |
| Reviewer | Matthew Paluch |
Perhaps it’s unrealistic to comment on part four if you haven’t seen one, two or three… but here goes.
IV by SERAFINE1369 is part of a series of works – II (2023), XII (2022), III (2021) – with two performances at The Place.
I attended the opening night and was taken to all manner of places. Ranging from boredom to intrigue and back again.
Throughout the work we’re told the time by a narrator (“the time is 7.44”), and the same voice shares pretty deep philosophical thinking about… well it’s hard to say for two reasons: the voice isn’t very clear, on purpose I assume, and potentially these were also the moments where I was struggling.
Boredom isn’t the right word, as I was definitely present for the duration, but my thinking was sometimes not on the work itself, but rather on what it made me contemplate: am I bored? Are they actually moving? Is it all saying enough to be doing so little?
SERAFINE1369 creates a distinct world, hugely supported by Josh Anio Grigg’s sound and light design. The soundscape is a cacophony of storm and rain recordings with extended periods of percussive, electronic phrasing layered on top. The lighting sees numerous tubes placed throughout the space – on the floor, walls, and some hanging. The hues change from institutional off white to red, blue, orange, and tangerine.
The costuming is economic like the movement (when it happens) with orange boiler suits that are loose fitting and at times removed by the cast of four at differing points in the piece.
The language and overall structure are still a conundrum. I analysed an ABA pattern. A1 lasted for the first 15 minutes and was a version of musical statues, seeing the dancers change tableaux every minute and hold it until the next one.
A2 (final 15 mins) was a little more developed, but mostly referenced back to A1 in relation to structure and overall (lack of) content.
B (middle 30 mins) was the filling and there’s a lot to ponder over. The event unfolded in an organic manner but also suggested hard-core planning. No obvious moments of impactful unison, rather more loose connections between solos, duos and trios. However, the dancers didn’t “dance with” or touch each other throughout, though spatial awareness and distanced proximity felt apparent in equal measure.
If one unpicked a solo interlude you’d likely find elements of locking, the suspension and fall of release, buoyant transfer of weight reminiscent of de Keersmaeker and belief that can’t be questioned.
The individuality and newness of the evening suggested one was on the precipice of (post) modern dance, but philosophical and conceptual intentions don’t always translate as intended. Though the tension created by the dialogue between pensive stillness and passages of movement that escaped and found physical liberation can’t be denied.
None of the above means one shouldn’t attempt questioning work, but it could encourage constant analysis and development, and I believe that’s SERAFINE1369’s agenda. So see you at the next installment. And thank god for The Place’s foresight again.
Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.
Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.
He is a member of the Dance Section of The Critics’ Circle.
