Transcen|Dance Mission will debut a brand new immersive dance/theatrical occasion titled Ophis. The work takes the traditional Greek fable of Medusa and reimagines it for the fashionable day.
The important thing to the brand new story is that Medusa is now not simply the bitter sufferer of a curse, however an emblem of resilient empowerment. It’s a journey about love and vulnerability, and transformational self-discovery, and takes the stage from April 4 to 11.
The corporate was answerable for the effectively obtained productions of Eve of St. George and A Grimm Evening, and like these productions, Ophis will happen on 4 ranges of the atmospheric The Nice Corridor whereas the viewers wanders out and in of the story.
As you enter, you’ll be assigned an space the place your story will start. The actors and dancers will carry out the work across the viewers, via richly embellished units on every ground.
Ophis (which implies serpent in Greek) contains an authentic rating together with dance and efficiency, and opens on April 4, 2025.
We spoke to creator and firm Inventive Director Julia Cratchley and composer Owen Belton in regards to the manufacturing.
Ophis: The Interview
“It’s thrilling to dive into a brand new world,” says Cratchley. Earlier productions have revolved across the fairytales of the Brothers Grimm, and Stoker’s Dracula, each far faraway from classical Greek mythology.
Historical Greek mythology already comes with a variety of interpretations over the centuries. Julia says Ophis is sort of completely different from Transcen|Dance Mission’s different productions. “It’s made it more durable and simpler,” she says. Ultimately, it additionally provided the chance for creative freedom. “It’s so various.”
Cratchley immersed herself in analysis of the time and interval, in addition to the varied interpretations of the Medusa legend.
“I really feel that this manufacturing could be very completely different from very Grimm Evening and Eve of St. George,” she says. That goes to each story and aesthetics. Grimm Evening and Eve of St. George shared sure traits in an overlap of fantasy and goth.
“That being mentioned, I don’t need to give an excessive amount of away.”
The Music
By the point Julia contacted him final summer season, Owen Belton knew the story he’d be writing music to.
Owen says the music has a recent really feel, somewhat than being impressed by any historic interval. “Considerably just like the earlier two exhibits,” he says. “There’s a bit extra voice within the rating this time.”
Belton describes his influences as being everywhere in the map, from pop music and bands like Radiohead to modern classical stars like Philip Glass, Arvo Pärt, and Michael Nyman.
His electroacoustic music is atmospheric, the rating alternating between melodic and rhythmically pushed sections. “One in every of my academics was Barry Truax,” he says. Truax, an electroacoustic composer and researcher, is taken into account a pioneer of granular synthesis.
Owen’s activity shouldn’t be solely to supply music for the efficiency because it unfolds, however to weave it across the a number of ways in which the identical story is skilled throughout 4 flooring.
“It’s one rating all through,” Belton explains. He’s devised it in order that it may possibly serve the aim of all the things that’s occurring within the present at any given time — on every of its 4 flooring, in different phrases. “It must be considerably versatile indirectly,” he says. There are key moments the place the music reacts in particular methods.
“Undoubtedly on the primary go of the music, I’m specializing in the principle story line,” Belton says.
“Typically we do have to return and alter,” Cratchley provides. That occurs throughout rehearsals, when the music is likely to be fantastic tuned to accommodate the varied storylines as they unfold. “That is the great thing about having a composed rating.”
A Medusa for the twenty first Century
The unique story of Ophis takes many acquainted components from the myths, books, and tales, including its personal distinctive stamp. “We begin with Medusa as an immortal human,” Julia explains. The story takes her from earlier than the curse that gave her a head of snakes to her emergence afterwards.
“However there are positively components that I’ve pulled from varied interpretations,” Cratchley provides. “We’ve taken our personal liberties to flesh her out as we need to.”
“It’s positively a contemporary retelling. We’ve reimagined her as an emblem of energy and resilience.”
Moderately than revolving round destruction and vengeance, Medusa’s story is one in every of self-discovery. “We’re actually making an attempt to problem these conventional narratives.” No extra damsels in misery, in different phrases. “To this point, how we’re creating Medusa, she has lots of grit.”
The snake itself, the image she carries on her head, might be interpreted in varied methods. “It’s fascinating that she’s generally known as this monster, however she’s also called an emblem of safety.”
The music follows the scenes and the motion somewhat utilizing character-based themes. Owen has a tip for the viewers members who need to observe the story alongside.
“Hear for the voices, I’d say,” Belton explains. The vocals, he provides, assist to drive the narrative. However, at instances, a bit of thriller is what’s referred to as for. “We’ve made it deliberately not at all times tremendous clear, what’s being mentioned. However, there are moments of readability.”
- Discover tickets and extra details about the performances from April 4 to 11 [HERE].
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Anya Wassenberg is a Toronto Metropolis Editor at Ludwig Van. She is an skilled freelance author, blogger and writing teacher.
