The Centaur and the Animal, Sadler's Wells

The Centaur and the Animal, Sadler's Wells | reviews, news & interviews

The Centaur and the Animal, Sadler's Wells

Unforgettable theatrical imagery with horse and man and the theme of death

by Ismene BrownTuesday, 01 March 2011

Bartabas, equestrian master, and butoh artist Ko Murobushi: A strange, mystical dialogue of horse and manAll images © Nabil Boutros/SWT

To achieve a black stage that emits or reflects no light is a hell of an achievement. To place a huge black horse with black rider onto that stage, without the slightest noise, and to contrive a black shadow on the black, is to create an image found in the fathomless wells of subconscious imagery, and the skill of that vision and realisation of it is something I doubt I'm going to forget.

A tiny old man crawls blindly on the white front while behind in the black vacuum Bartabas rides his horses like shadows of death

Buy

Sadler's Wells tickets booking on ents24

Explore topics

Share this article

...

Permalink Submitted by Ana (not verified) on Wed, 02/03/2011 - 11:34

Having seen the piece yesterday, I'd agree that it contains strong and even unseen images. I had more troubles than the author above to blend out the voice which evoqued very disturbing images. It was actually hard sitting through the whole piece. - For me it ended up - and this in spite of the new images provoked in conjunction with the horses, sand, light - being one of the most lengthy performance experiences. It was hard to connect to the piece, to follow the story and I also think by the marketing which had emphasised the part of the horses, the audience was a bit mislead. Many people got up and left during the performance. It is not a piece I would recommend.

...

Permalink Submitted by Felix (not verified) on Thu, 03/03/2011 - 09:38

When I booked the tickets I thought this show would either be brilliant or terrible. While some of the images were hauntingly beautiful and the skill of the protagonists (human and equine) not in doubt, I felt it was incredibly enigmatic and opaque and so hard to engage with emotionally. As Ismene Brown says, the spoken text was a distraction. I found the parts of the performance without verbiage by far the most successful; one almost needed to enter a trance-like state, to be mesmerised by the slowly unmoving, repeated sequences, taken to a world without words. I left feeling I'd seen something very distinctive and beautiful, but curiously unmoved.

...

Permalink Submitted by Katie Allen / M... (not verified) on Tue, 22/03/2011 - 15:23

This is the most hilarious show I have ever seen. The sound effects gave a great effect and set a very amusing atmosphere. They were ace, though some of it was pretentious I would definately not recommend this for younger children because some of the scenes are rather inapropiate and disturbing. However older people would definately understand this performance although it can become quite repetitive. For example: the horses on stage walk around aimlessly and shat on the stage.... but anyway it is a great show and a real joy to watch.

Add comment

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Dance

Help to give theartsdesk a future! Support our GoFundMe appeal

First Person: singer-songwriter Sam Amidon on working in Dingle with Teaċ Daṁsa on 'Nobodaddy' Michael Keegan-Dolan’s mind-boggling total work of art arrives at Sadlers Wells this week

Akram Khan, GIGENIS, Sadler’s Wells review - now 50, Khan returns to his roots The dancer-choreographer goes epic in a show that unites South Asian dance styles

Maddaddam, Royal Ballet review - superb dancing in a confusing frame Wayne McGregor's version of Margaret Atwood's dystopia needs a clearer map

Pina Bausch’s The Rite of Spring/common ground[s], Sadler’s Wells review - raw and devastating Returning dancers from 13 African countries deliver celebrated vision with blistering force

Legacy, Linbury Theatre review - an exceptional display of black dance prowess An all-too-fleeting celebration of black and brown ballet talent that demands a reprise

Encounters, Royal Ballet review - exciting mixed bill with a gem of a premiere Pam Tanowitz's latest piece is a stunner that larkily subverts the rules

National Ballet of Canada, Sadler's Wells review - see this, and know what dance can do Yet again, Crystal Pite proves herself a ferocious creative force, alongside fellow Canadian exports James Kudelka and Emma Portner

Nobodaddy, Teaċ Daṁsa, Dublin Theatre Festival review - supernatural song and dance odyssey Michael Keegan-Dolan’s genius guides us through death, separation and loss

Alice's Adventures in Wonderland, Royal Ballet review - big, bold and ultimately brash It may be box-office gold, but Christopher Wheeldon's adaptation fails to find a beating heart down the rabbit hole

Resurgence, London City Ballet, Sadler’s Wells review - the phoenix rises yet again A new 14-strong company reviving a much-loved name is taking ballet to smaller theatres

The Mad Hatter's Tea Party, ZooNation, Linbury Theatre review - a joyous celebration of differentness Kate Prince's hip hop take on Lewis Carroll is energetic, charming and moving by turns

Follow @theartsdesk