ODYSSEY TO THE SUBLIME by Odyssey Dance Theatre
The
1st full-length production that was performed by ODYSSEY DANCE
THEATRE (ODT) in January 2000, 'ODYSSEY TO THE SUBLIME'
will once again be performed at the 1st Contemporary Dance
Fiesta in Singapore at the Victoria Theatre on 27th November 2001.
'ODYSSEY
TO THE SUBLIME' questions the audience on their quest
for needs, impulses, cultural beliefs, instincts & attitudes
towards life, thus envisage their own journey with profound wisdom,
vision and ethical cultural beliefs.
First
premiered in Brisbane in September 1999, 'ODYSSEY TO THE
SUBLIME' was presented in Singapore and Taiwan on in January
2000 - a manifesto of cross-cultural exchanges on an international
platform.
The
local and international audiences were presented with an overwhelming
performance that explores the traditions and contemporary, the
east and the west.
A
stimulating production that shows how Contemporary Dance is capable
of blending Asian traditional elements, in the creation of another
cultural perspective
REVIEWS
- ODYSSEY TO THE SUBLIME
The
Straits Times, 22 January 2000
'GIVEN
our penchant for international arts branding these days, the
strategic Singaporean artiste can look to scoring points and
upping expectations for taking the desired arts peak.'
'True to its cross-cultural mantra, the company melded fashionably
East-West dance techniques as well as music sounds from the
usual intercultural-music brigade- Tan Dun and Philip Glass-
partnered tunes from Yungchen Lhamo and other ethnic crooners.'
'But
while profundity and depth need be plumbed, ODT's professional
integrity, adventurous and resourceful acumen will guarantee
it is no stillborn or dilettante.'
The
Arts Magazine (March / April 2000 Issue)
'The
verve displayed by the dancers in Odyssey to the Sublime was
most impressive. The dancers were relentlessly driven and unwaveringly
immersed in the dance epics spell.'
'…
the production aspects of Odyssey were impressive'
'Odyssey's
aim to be a "cross cultural exploration for identity
between traditional and the contemporary, the east and west"
points to Tan's ambition of becoming a Singaporean "voice"
in dance. Although this is an important theme to the choreographer,
the more significant message conveyed by the choreography seemed
to be not so much about crossing cultures as it was about a
universal quest for happiness shared by all mankind.'
'While
Odyssey's scale and dynamism were impressive, Tan's development
as an artistic director and choreographer may be his odyssey.
Perhaps in his quest to find the essence of his expression,
a truly Singaporean voice will eventually emerge.'
