Review. IndepenDANCE 4



3:e våningen, Göteborg

Independence #4 - Fine 5 Dance Theatre, Estonia

Trisolde & Generations

29 november - 1 December 2018



Choreographer Rene Nômmik T

Dancers: Tiina Ollesk, Simo Kruusement

Choreographer-director: Renee Nõmmik

Dramaturgy and science of biocybernetic symbiosis: Illka Kosunen

Composers for interactive media: Giovanni Albini, Hans-Gunter Lock

Visual arts: Valentin Siltsenko



Directors-choreographers: Stav Marin & Neta Weiner (

Dancers: Ajjar Ausma, Helen Reitsnik, Olga Privis, Simo Kruusement, Allar Valge, Aneta Varts, Katre Sabbal

Costumes-design: Liina Tepand




In Trisolde, the artistic authors dive deeply, the unconscious controls part of the course of events. In the background lies Wagners music, initially unidentifiable, but at the end in original orchestration. The fragmentation, or the granulation, of the music is partly controlled by the audience's reactions - with the technology of lie detectors, four selected spectators influence the soundscape.

A lot of the pre premiere discussion focused on technology and the interaction process. But it is in the actual staging and performance that the artistic signature is set and expressed - technology may apologize.


The choreography and dramaturgy is tight and almost breathless in the opening scene. Here are some of the strongest images of the performance - a consistent and restrained choreography with great impact on the audience. A thin line of light divides the stage and separates the dancers. As they slowly move away from each other, the light rift grows. It's magical. The first shivering or tension of the bodies is propagated into the light beam itself. The dancers uses the diagonal to create tension and spatial structure. They express strong feelings, sometimes almost on the limit of fatigue, in between there are more romantic movement evocations.


Towards the end, a crescendo is reached in music and dance, an emotional frustration expressed. The final scene when everything settles is magnificent, projections create movements in the space before everything comes to a rest.


This is not the original Wagner's Tristan and Isolde recreated, - it is a piece of art in its own right - with an impressive artistic signature by Renee Nômmik and interesting music. It is inspired by and reflects on the original. But there is no need for the audience to search for the details of the origin or identify a story,  a narrative, just let yourself be drawn into the movements, the light, music and projections presented on stage. In addition, the mature dancer Tiina Ollesk and her partner Simon Kruusement are very strong and beautiful performers with excellent technique.


The second part of the evening Generations is built on today's popular trend of letting the dancers personal stories or memories form the basis of the performance. The idea is simple but effective for a new and unaccustomed audience - sometimes too predictable.  From a movement point of view there is inspiration from martial arts, folklore, acrobatics - here are highly rhythmic parties, both in motion and in music. The dancers' voices and stories contribute to the rhythm. It is easy to recognize oneself. The Choreographers Stav Marin och Neta Weiner, of Israeli origin, have also in close collaboration with the Dance Company managed to capture a kind of Baltic sentiment, an interesting melancholy that often characterizes childhood memories. It is delightful, full of energy and joy. Seven good dancers of different age - generations - seems to thrive on stage and this highly contributes to the overall experience. Different bodies with an unexpected body language. Here the ensemble and not the individual personalities are the real winners.


* On the last day of performance, the audience also could enjoy a lecture about the Estonian poet Marie Under by the swedish translator Enel Melberg. Those who attended both of these events of IndepenDANCE  really felt the importance of contemporary Dance and other artistic expressions for future development in the Baltics.



December 1, 2018


L-O Persson