In the heart of Berlin’s Gropius Bau atrium, a rectangular stage set ablaze with white neon lights invites audiences into the world of Alex Baczyński-Jenkins’s latest performance, Malign Junction (Goodbye, Berlin). Dancers emerge from either side with movements reminiscent of George Grosz’s Republican Automatons, mirroring the robotic, fractured quality of post-World War I Germany while capturing elements from Christopher Isherwood’s 1939 novel, which examines Berlin’s tumultuous shift into repression and the downfall of its vibrant nightlife and cabaret culture.
Drawing inspiration from Isherwood’s Goodbye to Berlin, Baczyński-Jenkins presents an intriguing exploration of Berlin’s past and present amid rising socio-political tensions. The poignant historical parallels remind audiences of Weimar Berlin’s progressive sexual freedoms, obliterated by the ascent of fascism, echoing contemporary worries of increasing police violence and the far-right’s influence in Germany’s political landscape.
The performance moves beyond the foreboding atmosphere of Isherwood’s narrative, incorporating Bob Fosse’s iconic choreography from Cabaret. Dancers transition from stark, mechanical motions to intricate Fosse-inspired phrases, showcasing their jazz hands and sliding top hats. Rapid footwork highlights an underlying urgency, echoing Gustave Stresemann’s metaphor of Weimar Germany “dancing on a volcano,” which remains eerily relevant today.
Yet, rather than donning Fosse’s classic attire, the dancers are clad in eclectic, contemporary outfits that root the performance firmly in the present. The audacious electronic beats create a stark contrast, overriding the nostalgic musical motifs of Cabaret, except for an ominous sample from ‘Willkommen’, serving as a haunting reminder of the looming disappointments in the air.
Baczyński-Jenkins takes liberties with the execution of the choreography, sometimes resulting in dancers falling out of sync. Their wearied expressions and uncoordinated movements might signal a commentary on the exhaustion that arises from a turbulent socio-political environment, though it remains ambiguous if this was a deliberate artistic choice. The effectiveness of the homage diminishes when the technical prowess falters, leaving the artistic exploration feeling somewhat diluted.
The performance comprises numerous references across varied dance styles, veering away from the initial Fosse narrative into country dances and more whimsical movements, hinting at a more classical influence. As the piece evolves, the choreography appears stretched, transforming into extended, abstract sequences that obscure the original vision.
Ultimately, while Malign Junction begins with a compelling concept, it drifts, touching lightly on its rich thematic references without deep exploration. Isherwood’s words, “I am a camera with its shutter open,” ring true as Baczyński-Jenkins appears to focus more on ephemeral visual delights than on profound engagement. As a result, the performance raises a critical question: How many abstract images can the audience absorb before the underlying meaning fades away?
Alex Baczyński-Jenkins’s performance, *Malign Junction (Goodbye, Berlin)*, at Gropius Bau engages with Berlin’s political history through dance inspired by Christopher Isherwood’s novel. The piece references Bob Fosse’s choreography while addressing contemporary social issues, though it ultimately lacks coherence, leaving the audience pondering its deeper significance.
In conclusion, Alex Baczyński-Jenkins’s *Malign Junction (Goodbye, Berlin)* at Gropius Bau navigates complex themes of repression through a blend of historical and contemporary influences. While the performance showcases intention with its choreography and references, it struggles with coherence and depth, leading to an experience that may leave viewers questioning its meaning in a modern context.
Original Source: www.frieze.com
