∞ {Infinite}
© Tom Visser
My Theatre Confidences 🤫
∞ {Infinite} by HUMANHOOD
Sadler’s Wells East till 15 February
Experiencing INFINITE by Humanhood was like embarking on a profound journey—a mesmerizing blend of movement and meditation that transcended the typical dance performance. The company's unique fusion of contemporary dance, martial arts, and shamanic practices created an atmosphere that felt both instinctual and otherworldly. The dancers didn't merely perform; they seemed to channel a universal energy, moving with a fluidity and precision that was both captivating and deeply moving.
The production delved into expansive themes of space, time, and the dissolution of the self, inviting the audience to explore the concept of infinity within and around us. The choreography was complemented by atmospheric lighting and a resonant soundscape, enhancing the immersive experience. What stood out to me was the accessibility of the performance; Humanhood's approach stripped away any sense of elitism often associated with contemporary dance, welcoming everyone into this shared spiritual journey. There was no pressure to intellectually dissect the performance—only an invitation to feel and experience it.
Credit: Tom Visser
On a personal level, INFINITE resonated deeply with the current societal pressures we face. In an age where we're constantly bombarded with information and driven by a relentless pursuit of success, the performance served as a much-needed antidote. It encouraged a release from the incessant mental noise, offering a space to reconnect with deeper, more essential rhythms that align with nature and the cosmos. For a brief moment, the overwhelming demands of modern life faded, replaced by a sense of “stillness” and unity. It was a powerful reminder of the importance of pausing, reflecting, and embracing the infinite possibilities within ourselves.
Credit: Tom Visser
A quick note on my reflections on the shows I see:
Let’s be clear: you won’t find the typical “review” on my page. I don’t buy into the so-called objectivity of mainstream theatre criticism; it’s outdated and protects toxic power structures while sidelining marginalised voices. I’m not objective, and I’m proud of it. I’ve got my own lenses. My reflections are personal, shaped by my lived experiences and values. I share what moved me, what challenged me, and what’s worth talking about; not ticking boxes or handing out stars.
And no, I’m not going to describe the whole plot or list every onstage moment; I find that mind-numbingly boring, both to write and to read.
Giuliano x
My Way of Looking at Theatre
You know, the more I think about it, the clearer it becomes that traditional theatre criticism has often been a tool for maintaining existing power structures.
It’s time to drop the privileged fancy talk around theatre and break free from star ratings.
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