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| Pushing the Body to Extremes to Find Serenity | Pushing the Body to Extremes to Find Serenity |
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| Why do some people put their bodies through extreme acts? Why cross the Seine on a wire or climb a mountain during a thunderstorm? The reasons are probably the opposite of what you imagine: Peace. Calm. Serenity. | Why do some people put their bodies through extreme acts? Why cross the Seine on a wire or climb a mountain during a thunderstorm? The reasons are probably the opposite of what you imagine: Peace. Calm. Serenity. |
| In his evening-length “Corps Extrêmes,” the choreographer Rachid Ouramdane works with acrobats, a climber and a modern tightrope walker, or highliner, to explore what lies behind the quest for thrills in such activities — and the on-the-spot mental clarity that comes with it. | In his evening-length “Corps Extrêmes,” the choreographer Rachid Ouramdane works with acrobats, a climber and a modern tightrope walker, or highliner, to explore what lies behind the quest for thrills in such activities — and the on-the-spot mental clarity that comes with it. |
| When the body is pushed to its limits, when fear really sinks in, you must deal with every part of yourself, including “your vulnerability, your fragility,” Ouramdane said in a video interview from France. “The notion of risk is always present. But it’s not a risk that you don’t consider. It’s almost the opposite, a risk that becomes your partner; a risk that you are used to dealing with.” | When the body is pushed to its limits, when fear really sinks in, you must deal with every part of yourself, including “your vulnerability, your fragility,” Ouramdane said in a video interview from France. “The notion of risk is always present. But it’s not a risk that you don’t consider. It’s almost the opposite, a risk that becomes your partner; a risk that you are used to dealing with.” |
| Risk, in essence, becomes an accomplice, creating a hyper alertness or sensitivity to the present moment. As the highliner Nathan Paulin says in a voice-over in the production, “To keep my balance on this thin moving wire, I need to be 100 percent focused on everything that happens, on my body and everything around me, so I feel everything more intensely.” | Risk, in essence, becomes an accomplice, creating a hyper alertness or sensitivity to the present moment. As the highliner Nathan Paulin says in a voice-over in the production, “To keep my balance on this thin moving wire, I need to be 100 percent focused on everything that happens, on my body and everything around me, so I feel everything more intensely.” |
| For all of its action, a meditative quality runs through “Corps Extrêmes,” a melding of performance and spoken word that opens at the Brooklyn Academy of Music on Oct. 27 as part of Dance Reflections, a festival sponsored by Van Cleef & Arpels. |