Hold Me While I’m Dreaming at Kanuti Guild Hall
Tucked into the Püha Vaime Hall, the audience was invited to participate in questions and expressions of shared care in cross-generation community through shadow puppet play and self-examination.
Tucked into the Püha Vaime Hall, the audience was invited to participate in questions and expressions of shared care in cross-generation community through shadow puppet play and self-examination.
The entire performance is a winding road, a tour through the “waistland” that begins in nature mockumentary style before turning in parts to semiotics lecture, dance, Duolingo-esque session, bedtime story, personal recollection, and more.
Altogether, it feels like a meditation—it is easy to get lost in the moment, the world shrinking down to just lights, noise, and sensation. It is disorienting, in the best of ways.
This show runs like a collection of vignettes, almost, circling themes of desire, family, identity and suffering; a woman both going through the motions and drowning under the weight of her unspoken screams.
Köster and team have pulled together an incredible staging for the series of scenarios, an imaginative, twisted take on parental abandonment and filial devotion.
The piece begins, rewinds, restarts, stops, and progresses, degrading in the way that a VHS tape would after too many viewings.
Ortiz Amezquita enters carrying small travel cases, and begins with a play of light, mirrors, reflection and projection. It is a fitting introduction to the piece, an intricate work of object storytelling, self-portraiture through shadow and sound, thinking back and calling back, falling in and out of history with his story.
Despite the array of topics covered and formats used, Triinu’s performance is entirely cohesive and blends together flawlessly. Her ease and grace as a ballerina are mirrored in the way she conducts her show, and her control, both in her physical and spoken performance, is nothing short of impressive.
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