About shadows, dreams and reality – by  Claudia Galhós

“In “On the desperate edge of now” the five male characters, even if not defined with a clear identity and personality, flow between the all potentiality of contemporary dance where each person and the collective are prose and poetry, in a double exposure going from narrative (which is different from the notion of theatrical) to metaphor in a brief impacting action. In an acrobatic and imaginative composition of dance lexicon, Kari Hoaas reminds us of the male quotidian labour that uses (and abuses) the body as a tool and force – as the workers on constructions and on ships that exist in Hammerfest that inevitably comes to mind. She gives us the dimension of the technical dominium of the body. The density and melancholy and the hardness of such labour, but she also gives us humour and joyful and unexpected references to the History of dance, such as the dance of one strongly bodily built dancer in a duet with a dark used green, working outfit, an overall that brought to mind one of Pina Bausch’s most kitsch scene with Dominique Mercy as a protagonist, in a tutu dress and high heels… The space between should be always a rebellious place. It doesn’t matter if it is a world of metaphor, poetry, ambiguity, surreal suggestions or dreams.”