Theoretically, Tan is the second part of V.-Nightmares, a tetralogy evoking the seasons of Vivaldi’s concertos.
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 culminates the seasonal trajectory with winter’s fatal bite and agony.
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 TAN , devoted to summer, the choreography focuses on the idea of heat and consumption. Electric heaters liquefy small wax sculptures, while a flame, present onstage, burns both skins and various objects, as images of fusing suns and planets scroll across the screen. The frenetic, almost hypnotic dances vainly unfold in a universe where everything is apparently destined to go up in smoke.