![]() Sometimes dancers dance with themselves and sometimes multiple echoes of others. It’s not so much a dance show, more a high-tech Son et lumière.Ĭentral to it all is Olafur Eliasson visual design which couples bending mirrors and see-through/solid walls to give us multiple perspectives on the action. ![]() McGregor’s take doesn’t really seem to have any meaningful story that I can discern, but it does seem to pick up on the idea of burrowing through dimensions, bending and twisting how you see things and and generally playing with all your senses at the same time. I’ve not read/inspected either but Foer’s book famously recasts the Schulz by cutting holes and sculpting it to reveal new meanings – or new meanings to some, I’m sure. Tree of Codes takes its name from Jonathan Safran Foer’s book/artifact that was based on Bruno Schulz’s The Street of Crocodiles. I’m not sure if he really planned it that way, but I’ll take it every time. Codes is a very different work and it shows McGregor as an out-and-out showman who dazzles us senseless with design, music, dancers and dance. Wayne McGregor’s Tree of Codes is I think the best piece he’s done since Chroma 10 years ago for the Royal Ballet. ![]() ![]() ![]() Gallery of pictures by Foteini Christofilopoulou (Click image for larger version)Ĭompany Wayne McGregor & Paris Opera Ballet Company Wayne McGregor / Paris Opera Ballet in Tree of Codes. ![]()
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