Double Fold // Rambert 2014
Abigail Reynolds is the current artist-in-residence at the Rambert Dance Company and to celebrate the company’s move to their new home on Upper Ground, she conceived Double Fold as a choreographic work in response to an installation of suspended acoustic panels that were removed from the walls of the company’s old rehearsal space in Chiswick. In their recycled form they hang in the centre of the magnificent new Rambert Studio like an exploded axonometric view of soft interlocking planes. What attracted Reynolds to these panels was their symbolism: they contain — if only we could decode their stored experience — the voices, breath, sweat (and smoke) of thirty years of rehearsals: a material history of the company that provides a somatic link between old and new.
Chairs for the audience arranged around the installation define the performing area. The panels and Malcolm Glanville’s clean lighting create a sense of architectural design reminiscent of the intersecting planes in Gerrit Reitveld’s work, which was in turn influenced by the ideas of Piet Mondrian and the de Stijl movement. The positive and negative spaces create a small theatre within this expansive studio, focusing our attention from architecture to dance.
Hannah Rudd is the first of the five dancers to ‘enter’ the installation, bowing deferentially in front of a horizontal plane before crawling under it and following a maze-like path through the panels, mirroring the material shapes with her own. The fabric panels are cut and hung to the scale of the dancers’ anatomy and the other four (Kym Alexander, Carolyn Bolton, Patricia Okenwa and Simone Damberg Würtz), loosely costumed in earthy colours by Rosalind Keep, likewise respond to the shapes with their bodies: placing their arms either side of a panel, kneeling or back-bending to fit neatly into an open space, the delicate planes broken or enhanced by sculptural movement. How you see the dancers in relation to the panels is a question of perspective, so after the fifteen-minute work is performed once, the audience is asked to move seats to see it again from another angle. It is an idea drawn from the art gallery, where the public has the freedom to wander around an object instead of contemplating it from a fixed point. It also derives from the cubist construct of seeing a single subject simultaneously from different angles. The gesture is reciprocal: while Reynolds is feeding the dancers with the richness of her visual training, the dancers define the visual elements with the quality of their dynamics.