Fuerza Bruta - Aven at the Roundhouse Photo credit Johan PerssonSeveral of the basic premise ideas from the previous show remain, but in a reworked format. For example the large membrane which formerly hovered overhead, filled with sloshing water and sliding performers, has this time been replaced by a more confined transparent box suspended above the heads of audience members with a single female performer flailing in the water. The major and surprising difference this time, is that she is lowered to within fingertip distance of the dazzled audience, as another member of the cast attaches himself to the underside of the suspended container and is lifted into the air flailing at her from beneath. The effect is both surprising and dramatic. Two violently struggling creatures at once drawn to each other and yet antagonistic, both dependent on the security which being either side of the barrier, affords them.
Other moments involve a solo performer in a cylindrical wind tunnel, and four of the troupe dangling around a huge globe of planet Earth which they then run around and grab at each other trying to unify and thereby maintain stability. The metaphors come thick and fast and do not need to be especially subtle or understated.
As with all such inventive physical theatre shows (be it Syncope du 7 or Cirque du Soleil) some interludes are more visually arresting than others and here too there are occasional lulls, although at just over an hour running time, there is little chance of anyone becoming bored. A smoke streaming wind tunnel falls a little flat, primarily because this promenade presentation requires constant reaffirmation of audience connection through close proximity and response, so when performers are behind a Perspex screen to the side of the playing area, the mere essence of a barrier creates an unnatural disconnect.
Thankfully a spray gun (high powered atomiser) wielded by one of the hugely energised troupe at the turntables, provides levity and profound playfulness which enhances the feeling of connectivity and experiencing something collectively. This is further reinforced by the drummers, who galvanise any slackers and those more reticent audience members, into being present and adding their energy to proceedings.
The coup de théâtre of the entire show comes in the form of a gigantic Humpback Whale which appears following one of the blackouts and (through the efforts of the two performers within), bounces its gargantuan flippers, tail and jaw onto the heads and eager raised hands of those beneath.
Diqui James and Gaby Kerpel (who were also responsible for creating Del la Guarda) founded the Argentinian multi-disciplined performance troupe which now takes up residence at the Camden venue until 1st September. AVEN’s technical director is Alejandro Garcia and Fabio d’Aquila serves as general coordinator.
