Dance performance uses social media videos
Tanzmainz and Moritz Ostruschnjak presented a dance performance titled Trailer Park at the Maison de la danse in Lyon. The piece was constructed from danced videos collected on social media, creating a unique blend of digital and physical performance.Audience asked to silence mobile phones
During the performance, the director of the Maison de la danse, Tiago Guedes, asked the audience to turn off their mobile phones. At that moment, the dancers on stage gave the impression of turning on the camera screens of their mobile phones, but in landscape format rather than portrait, maintaining the digital language of social media.Dancers mimicked being filmed by screens
The eight dancers, comprising six boys and two girls, moved in front of the audience as if being filmed by a screen. Solo or group, each dancer presented their pose and attitude through short scenes against a black curtain background.Dancers wore colorful sports jerseys
All dressed in colorful sports jerseys, they played with dance styles found on social media. The technology dictated the rules: videos on Tik Tok or Instagram are short, and their stage transpositions were also brief.Performance allowed appreciation of dance styles
However, the expanded vision of the spectator over the entire stage, where the dancers were in action or at rest throughout the performance, allowed an appreciation of the quality of the styles and dances that followed each other.Performance explored influence of mobile devices
Moritz Ostruschnjak and his dancers from Tanzmainz offered a view of the other side of the screen, exploring what feeds the energy of the anonymous people who post their performances on networks.Dancers performed a variety of dance styles
Staying on the principle of the video framing of mobile phones, the steps evolved from the back of the stage to the front of the platform. The dancers, in their front-facing movements, offered a real collection of danced gestures: voguing, popping, break, krump, jazz, or even pantomime.Performance highlighted individual and group talent
The talents of the young interpreters gave the numerous sequences a real thickness. The solos allowed appreciation of the great technique of each individual. When they gathered together in the center of the stage to take very hip-hop poses or in the style of dancers for giant concerts, they made the big jump between dance for a huge audience and that of dancers in a room who post their exploits on the networks.References to musical comedies and pop culture
Special mentions were given to the references to the universes of musical comedies: The Wizard of Oz or The Sound Of Music. The atmosphere slipped into a tableau on the song Welcome to The Internet (well named) by Bo Burnham for a dance worthy of a pom-pom girls and boys number.Performance ended with a nostalgic touch
A short passage through a caricature of masculine poses against a country background and there was an ensemble on a song by Queen where the eight interpreters scattered on the stage seemed to have rediscovered the universe of their teenage room dancing in front of their mirror. "Mirror oh my beautiful mirror, have I danced well?" Without doubt yes, and the public, mixing all generations, seemed to answer with the same affirmation.
