I think design most aligns with Millepied’s approach from this piece: women dancer conveys such a limp, languid and languorous feeling, practically as though the lady were publication doll motivated into action by the men ballet dancer, the music, as well as the audience. Her posture, and the balance of her mind (constantly going around on her shoulders because body creates then collapses in the arms of her male equal, at once extending and increasing with the swell of the music and then crashes as though the sensation and movements were extremely hard to sustain). Perhaps it is the music itself, its endless repetitious top quality, that tugs at Millepied’s dancer’s and therefore gives us the style we see within the stage – or perhaps it truly is Millepied’s very own sense of the culture – stuffed, manufactured, inauthentic, however propped up by these types of traditions – art, music, dance – which this individual sets ahead of us, inviting us to find the dancers the way we once watched Pinocchio as he wrestled with his “strings” under Stromboli’s stern and watchful eyes.
Indeed, the impression that the music gives is usually alternatingly enjoyable and oppressive and this can be expressed inside the dancers’ phrasing, as they temporarily stop, attempt to accumulate themselves, be involved in a motif, before relatively letting mid-air out as the oppressive surge of some inscrutable thing weighs in at down upon them and us all. This can be the effect of manipulation on the part of the musical score, which Millepied determines and includes into his sequences, reflecting the overall manipulative aspect of modern day culture, which attempts to enhance and take us in so many contrary directions simultaneously that we become, like the ballet dancers, as reeds blowing and being thrown back and forth inside the wind. You will discover something of style in the act, but as well it is obvious that the celebrities are, approximately, at the mercy of the elements.
As a result the locomotion of Millepied’s style is usually on display: alternating between slow amblings and faster (but still slow) reductions of negative space, the demonstration of harmony, virtuosity and dynamics resembles that of a few in the throes of a few troubling, existential passion, refined and on the top barely noticeable because of the silent calm and self-possession which the actors preserve, though below the surface the soul is violently moving to such an extent the audience is torn among expecting a great explosion and delighting in the capacity for self-restraint.
What does it all mean? The look is the substance in this case and both may be taken as the intent too. The changing patterns which include going coming from hesitating presentations of a gulf between the two dancers reflected in the growth of adverse space towards the slow intertwining of the two as positive space overtakes them as they join jointly as one within a slow movements interpretation from the music. This kind of style well represents a type of extended courtship or marriage