Just when I thought that conceptualism in dance has vanished from the festivals, there's „Boundary Games“. There's a playground marked with squares, there's flickering fluorescence light and luminescence light that makes the lines of the squares alive. There're six performers laying down felt blankets, making sculptures out of them, covering each other with them. There are the urban noises (people talking, cars driving, a plane flying over, etc.) and the sounds of the nature (mostly birds singing) that are switched between on a command of an artificial beep – followed by a swift change in lightning, usually from cold to warm –; and that occasionally become a conducted (electronic) music. And then there's the inevitable count-down of a space rocket and the re-creation of a new world, of the new order (that includes cardboard boxes and wooden sticks and conquering the upper level of the venue). „Boundary Games“ is a well-made piece of art but it felt like seeing a class-mate three months after the graduation, both of you on your way to a chosen university and still absolutely believing that you'll keep in touch. And it makes you wonder: wasn't the intellectual supremacy of the arts one of reasons we ended up with the majority going for no-bullshit leaders?
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