‘In revenge and in love woman is more barbaric than man is’ From Friedrich Nietzsche’s Beyond Good and Evil (Jenseits von Gut und Böse)
In previous years, Samir Calixto has made quite an impression with his adaptations of Winterreise (after Schubert), 4 Seasons (after Vivaldi), Paradise Lost (after Milton), and Summa (after Arvo Pärt). With a resolute cross between pure musicality and intense physicality, he digs deeply into the subject matter of his performances until they achieve a timeless quality.
After the impressive M, where five male dancers submit themselves totally, mentally and physically, the Brazilian choreographer has now created W. Samir revisits the intriguing cross-fertilization of dance and the philosophy of Nietzsche. W is in all respects a mirror image of M: a piece where five women make tangible the power, anger, and voluptuousness so clearly manifest in myths and archetypes connected with women. Wagner is for W what Mahler was for M. Wagner’s Tristan und Isolde is a polemic work about the extremes of human instinct unleashed by the irrationality of romantic love. Set to a modern adaptation of Wagner’s music, Calixto’s W trains the spotlight on our obsessive search for truth, now from a feminine perspective. Through Calixto’s ruthless physicality, layers are peeled off the dancers to reveal their vulnerabilities and barbarity. The women undergo a ritual of submission, voluptuousness, and sacrifice, until the purity of existence is achieved.