
(Image from Dansens Hus, (c) unclear.)
Sharon Eyal is just the best. Awesome. Fascinating. Spell-binding. I don’t have enough superlatives. As an added bonus, this performance took place at Elverket, a small scene, and we had front row seats, so it felt even more immersive than usual.
Into the Hairy had familiar elements, the bits that I have loved in her previous works, but still felt new. Although, to be fair, even if there was nothing new, I could watch this over and over again. Maybe not daily, but once a month? Absolutely.
There was the group, moving together but not in sync, moving similarly but not identically, always having someone deviate somehow. Constant development and mutation in what is happening, even though much of it is told with minimal means. Small gestures, the angle of a wrist, the twist of a shoulder.
There were the precise movements that are elegant but also alien and inhuman. Stepping on the sole of one foot but just the toes of the other, to always be off balance. Especially one of the dancers was like… I don’t know what. An eel. A snake. An octopus. A space alien. Not boneless but just not quite human. Almost uncanny valley.
There were the lacy bodysuits that enhance each movement. A smooth costume smooths out movements, whereas a subtle pattern draws attention to them. I have never been as aware of the flex of each thigh muscle, the undulation of a pair of shoulders, the twitch of a buttock.
Here’s a brief 30-second trailer of Into the Hairy.