Force Majeure’s IDK – REVIEW
Image: Force Majeure - IDK. Image: supplied
Directed by the talented Danielle Micich, Force Majeure presents idk, a compelling performance of movement that explores self-discovery and personal growth. Implementing abstract and contemporary art styles, performers Gabriel Comerford, Adriane Daff, and Merlynn Tong navigate dimensions of human interactions and consent.
The carriageworks location allows for an intimate setting that highly engages viewers with the narrative. Captivated by the contrasting blue and orange lighting and the colourful mats, the set is thoughtfully constructed to amplify the powerful movements within the space. The setting is transformed and woven into the choreography throughout the story, with the dancers using ropes, mats, and a ladder to represent motifs and themes.
The narrative focuses on the different stages of our lives central to personal development and how our human emotions dictate our actions and experiences. The performance opens with Tong and Comerford displaying frigid movements and a lack of connection with each other. The choreography is paired with loud, eerie music to emphasise struggle and instability. As the story progresses, both dancers separate and join together in an arrangement of choreography, embarking on their individual journeys. Closely following the growth and development of Tong, the abstract motions on stage highlight the up-and-down relationships we have with our bodies. With individual exploration, liberation, and support, Tong gains a new sense of self and confidence by the end of the story.
Womanhood and feminist themes are present throughout the narrative, focusing on misogyny, pornography, and the sexualisation of the female body. A scene that appropriately captures these concepts is Tong being forced to wear a short version of her white gown, stripping her of the purity and innocence she has always known. Followed by Comerford’s misogynistic comment, the scene represents the conflicting societal expectations of women.
The following scene is an introduction to Tong’s sexual development. The bold movements from Daff and Comerford, accompanied by a series of breathy vocal sounds and bright lighting, paint a liberating picture for the audience.
Daff portrays the crucial role of the teddy bear, who guides and supports Tong through her personal journey and self-discovery. The teddy bear is symbolic of childlike innocence and has trouble grasping the thought of Tong’s new and mature desires. Daff’s character draws the audience’s attention to the importance of consent throughout the story, particularly evident at the start of the performance.
The bear first approaches Comerford and is startled by his mature presence, wanting an escape from physical handling. Daff continues highlighting consent through multiple interactions with Tong, with parts of the dialogue displayed on a large screen in the centre of the space. The bear documents each personal experience and conflicting emotions and desires, closely watching Tong and Comerford through a perceptive lens. Towards the end of the narrative, the teddy bear delivers a passionate monologue about growing up and escaping an innocent mindset, revealing the bear’s own exploration that adapts to change.
The final scene in idk exhibits a powerful image of Tong feeling confident in herself and setting boundaries within her intimate relationship. The central blue mat transforms into an ocean surrounding Tong, creating a metaphor for her growth. Tong then expresses her feelings and emotions during intimacy, with Comerford listening and respecting her wishes. To end the performance, Tong and Comerford connect by intertwining in complete silence, expressing peace with themselves and their bodies. It is safe to say that this moving performance will leave audiences with something to reflect on.
