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This is also reflected in elements from an accompanying video of cars zooming down highways - sped up so quickly they’re nothing more than coloured lines. Godspeed’s musical “formula,” if such a thing exists, is resonant in “monumental’s” choreography, exaggerated and multiplied to overwhelm. The band’s lengthy, deconstructed tracks oscillate between triumphant orchestral rock and droning, formless dissonance, which embody “monumental’s” duality. Godspeed’s penchant for honing in on small musical ideas, repeating them and stretching them before they reach their apex also ensured the provided ear plugs were put to good use. The accompanying music by Godspeed You! Black Emperor, now in the form of an evolving, reactive live score incorporating material both new and old, is a fitting soundtrack. The version of life depicted in “monumental” embodies Gagnon’s “beautiful and horrible” dichotomy: as the nine dancers weaved in and out of tandem movements, any strays were immediately cast aside and castigated, a poetic exploration of the cruelties of human group behaviour, oscillating between graceful motion and obsessive scratching.Ī poignant sequence explored celebrity culture and meticulous self-documentation – even more relevant in the days since “selfie” became Oxford Dictionary’s Word of the Year – and even provoked the show’s only spontaneous, mid-performance applause as the dancers stood frozen in glamorous, runway poses with contorted smiles. This advertisement has not loaded yet, but your article continues below. This is best exemplified when incorporating live, top-down video footage of dancers on the floor, providing multiple perspectives of singular phenomena. The layout of the text is different depending on the screen the new vertical screens are closer to the audience, creating a layered effect. It has to happen here,'” she recalls.Īlongside the performance’s usual, horizontal screen at the back, projecting Holzer’s ominous mantras about the body and human interaction, the Hearn version included two vertical video screens at the sides of the stage. “ I remember just walking in here and going, ‘It’s a no-brainer. Gingras first came to the Hearn last September, while working with Luminato to scout locations to mount the piece. While the remounted production has featured performances in Montreal and Vancouver, and upcoming dates in Scotland for the Edinburgh International Festival, the version performed at the Hearn featured unique alterations to fit the 400,000 square-foot space.