Moon Wink

march.1994

His necktie askew, the dancer stands erect in obscurity between two naked light bulbs dimly lighting 2 puddles that glisten like the cobblestones of Paris on a rainy night. To Debussy’s music, Kelemenis reveals his entire craft as a dancer. We find his loose wrists, his gymnast jumps ; we find his way of picking himself up that was beastly in Faune Fomitch, devoted to Nijinsky. In particular, we find him in this ample, generous and detailed dance. 

But at the same time, he is entirely somebody else. Something has hardened or been clarified. More than ever, Kelemenis knows what he wants. He can interpret the princes of the Romantic repertoire, the fauns and other emblematic figures of dance that are all convened in this solo, but that doesn’t satisfy him. He hates quotations and bores into the public with piercing eyes. He has waited and watched, but now he has the attitude of a hawk : for the beauty of flight, its accuracy and speed, but not for the prey. He was touted as being mischievous but now he has turned wild and untamable.

 

march.1993

Meant to be a poetic dialogue, this solo is based on the musical score Jeux. Above all else, Kelemenis reminds us that he is an exemplary performer of rare delicacy and accuracy. And then in a jump, suddenly, one look and it’s as if we caught a glimpse of Bagouet, ubiquitous in this work. (…) Clin de lune burns with hidden passion. Imperceptible striptease, the soul is left bare when Kelemenis discards his last garment, leaving the impression of another presence.