What can be more right than that in the day to set up Franz Kafka's surreal tale of Gregor Samsa and his transformation into an insect? Here is the stuff so that it is enough to tell us something essential about everything from avhumanisering to prestationssamhället.
In director and choreographer Carl Knifs hands have Kafka's the metamorphosis, that during the National tour is presented alternately in Swedish and Finnish, has become a dance show bursts of sharpened images.
The ill fated Gregor Blended family consists of a chamber of horrors of typifierade figures in the 40-talstappning, whose välmodulerade nunor krackelerar along with the show's time.
Niklas Åkerfelts and Simon Hägers parents is a marvel of grotesque solidified smiles, desperately maintaining the rämnande bourgeois facade. To them join the ranks of a man dressed in black figure, a sinister shadow that is symbolically involved in Gregors transformation.
differs from the monochrome noirkänslan in its korallfärgade dress and tillkämpade käckhet. Here is the class, the charm is far from discreet. In fact seemed to rot it from the inside.
the Show's dance numbers enhances the contrast between the remaining family dockryckigt predestined patterns and Gregors soft flexibility. Stryktäck crawling about on the walls in Erik Salvesens drab set design that testify to the past burget prosperity.
Here, there is no room for those who do not benefit. In his sad exclusion becomes Patrick henriksen had Gregor, whose insektsskal embodied impact of a broken salongsstol, also relating to the vulnerable. But where does the commitment end of the year. The performance elevated the surreal grip eventually becomes monotonous and drained of the force by to stop at just one grip. And all that ”Transformation” would be able to put your finger on slipping out of our hands. It feels a little inglorious.