Transcen|Dance Undertaking will debut a brand new immersive dance/theatrical occasion titled Ophis. The work takes the traditional Greek fable of Medusa and reimagines it for the trendy 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 chargeable for the nicely acquired productions of Eve of St. George and A Grimm Evening, 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 means of richly adorned units on every flooring.
Ophis (which implies serpent in Greek) contains 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 concerning 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.
Historical Greek mythology already comes with a variety of interpretations over the centuries. Julia says Ophis is sort of completely different from Transcen|Dance Undertaking’s different productions. “It’s made it more durable and simpler,” she says. In the long run, it additionally supplied the chance for inventive freedom. “It’s so various.”
Cratchley immersed herself in analysis of the time and interval, in addition to the assorted interpretations of the Medusa legend.
“I really feel that this manufacturing could be very completely different from very Grimm Evening and Eve of St. George,” she says. That goes to each story and aesthetics. Grimm Evening and Eve of St. George shared sure traits in an overlap of fantasy and goth.
“That being stated, 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, somewhat than being impressed by any historic interval. “Considerably just like the earlier two exhibits,” he says. “There’s a bit extra voice within the rating this time.”
Belton describes his influences as being all around the map, from pop music and bands like Radiohead to up to date 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 among my lecturers 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 supply 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 may serve the aim of all the pieces that’s occurring within the present at any given time — on every of its 4 flooring, in different phrases. “It needs to be considerably versatile in a roundabout way,” he says. There are key moments the place the music reacts in particular methods.
“Undoubtedly on the primary move of the music, I’m specializing in the principle story line,” Belton says.
“Typically we do have to return and alter,” Cratchley provides. That occurs throughout rehearsals, when the music is perhaps high-quality tuned to accommodate the assorted 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 parts 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 positively parts that I’ve pulled from numerous interpretations,” Cratchley provides. “We’ve taken our personal liberties to flesh her out as we need to.”
“It’s positively 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 considered one of self-discovery. “We’re actually attempting to problem these conventional narratives.” No extra damsels in misery, in different phrases. “Up to now, how we’re creating Medusa, she has numerous grit.”
The snake itself, the image she carries on her head, could be interpreted in numerous methods. “It’s attention-grabbing that she’s often called this monster, however she’s often known as a logo of safety.”
The music follows the scenes and the motion somewhat utilizing character-based themes. Owen has a tip for the viewers members who need to observe the story alongside.
“Pay attention for the voices, I’d say,” Belton explains. The vocals, he provides, assist to drive the narrative. However, at instances, somewhat thriller is what’s known as for. “We’ve made it deliberately not at all times tremendous clear, what’s being stated. 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.
