When the polyptych is presented in its entirety, it is spring that first proclaims itself with Fluid Mechanics, in which nature and the human body alike find themselves in a state of effervescence. This is followed by Tan, smouldering summer, and Moss&Mold, autumn’s decay, and ultimately ICE, winter’s fatal bite and agony, culminates the seasonal trajectory.
For this large-scale production, Thierry Smits intentionally plunges into the world of multimedia performance-installations, intensifying his use of screens, projections, lighting, sound and props on stage, as diverse as they are unexpected, but which all punctuate a certain idea of the seasons in all their metaphorical potential with human life that is born, flourishes, withers and dies.
In Fluid Mechanics, the dancers’ bodies interpret spring and burgeoning nature through a series of fluid exchanges and scenes that connote sexual desire in all its irrepressible surge. The insistence to consummate the other gives rise to an impression of a pornographic and baroque universe. The notion of contamination crops up, metaphorically imposing itself upon this exuberance which foreshadows summer’s ravaging explosion.