By Claire Hampton University of Wolverhampton
This article draws together two traditionally polarised and hierarchised modes of theoretical enquiry: the representational, textual theories of traditional academics such as Pierre Bourdieu and Michel Foucault and the phenomenological, somatic approach of the performance-based theorist and choreographer Jasmin Vardimon.
‘To examine The Holocaust is to look into ourselves. Israeli-born Jasmin Vardimon’s powerful production reminds us of the mechanical and personal brutality of The Final Solution through the prism of civilisation and petty intolerance.’
‘In this gruelling, moving work, Israeli-born Jasmin Vardimon looks at the Holocaust, and, by flitting backwards and forwards in time, she examines how children reared on survivor stories become ‘memory-candles’… This is a sombre piece of physical theatre rather than dance. It’s a riveting, almost overwhelming work.’
On a superficial level, it is a dance piece of exquisite detail, accuracy and exposition. But underneath the fluidity of movement and pace, there lurks a message of greater intensity.