duras trilogy: reviews
Duras’s literary work resonates in the music, in the dance and in the relationships of the dancers. Text passages are used very sparingly and effectively, never as an explanation. Saskia Hölbling’s analysis of the work of the great French writer is profound and respectful, as if there were a relationship of the soul here that must express itself. Just as Duras formulates her language precisely, so Hölbling choreographs with a love of detail.
Many scenes evoke the Cinéma français of the sixties and seventies, an atmosphere of undefined and ambiguous emotions and relations arises. The dancers, Heide Kinzelhofer, Max Steiner, Andrea Stotter and David Subal settle into this mood with disarming openness. A play of suffering and passions whose intensity draws the spectators into the events. And this despite the fact that Hölbling remains true to Duras to the extent that she retains the cool distance of the actors. Because the young choreographer deals masterfully with the contradiction that these worlds of feeling throw up: she does not psychologise, but allows the characters to get through her work as a unit. As a result the emotions are present at every moment, but not explicable. “Happy, this is strange” –– with her dance, Saskia Hölbling has made the meaning of this sentence visible and noticeable.
Edith M. Wolf Perez
In her staging, the young Austrian choreographer Saskia Hölbling works with related material, like Duras, even if at a different level. The clear diction, the minimum of words into which the French author is able to instil the maximum life, experiences a similar expressive power in Hölbling’s language of dance.
The tension of the distinctive Duras style is reflected with success in the work of 27-year-old choreographer Saskia Hölbling.
With great feeling for an effective musical and dance-theatrical direction. With a great sense of timing and atmosphere.