The first part entitled Even Steven is most demanding on the dancers and tests both their attention and concentration in the controlled performance of simple ballet steps that differ only in minor details, and eventually reflect the effort that the dancers have taken upon themselves without objection or contradiction. Such is additionally underlined by their countenance: patient, with short hair and dressed in black tights and white shirts, give the impression of obedient girlhood-ness. In the last part, Mary's Dance, they are transformed into large-breasted women dressed in black glittering latex who are engaged in a compeletely different communication. By such attire the performers draw attention to the image imposed on women by society; the artists do not identify with this image but, due to its violence and aggressiveness, rather underline it. If at the beginning they appeared as two girls, now they have become two manipulated females who through the occasional pouring of water and moving across the dampened floor create zig-zag lines – like the traces of shortness and passing.
This project composed of long repetitive sequences, separated by playful and at times soul-stirring intrusions, which are permeated throughout by absurdity, is complemented by interventions by special guest musicians. This adaptation for the City of Women, by way of which Livingstone and Kravas were presenting their project in Europe for the first time, encompassed two evenings. In Mary's Dance on the second night the authors were accompanied by cellist Bo Wiget, as well as guest of the 2006 Festival, singer and cellist Bonfire Madigan. A special surprise was provided by musicians and volunteers from Ljubljana…
Ana Perne
