Mitten wir im Leben sind

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Appearing here are both individual human beings and the relationships between them; a lone young man, a lone middle-aged man, an old woman with a young man, an old woman with a young woman — interactions that could be either romantic or familial.

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The use of Bach, particularly in the form of an unaccompanied cello, for a theme like this is highly orthodox. As I mentioned earlier, these Bach pieces were originally created as tools that allow the listener to feel the sublime presence of God, so the level of any dance performed to them is automatically raised by the power of the music.


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On stage, the dancers — men and women, young, middle-aged and old — expose their aged bodies as they are. They perform everything from aggressive, Muay Thai-like moves to sensual, tango-like interactions; at one point, the men form a line as if caricaturing some organization. That is an expression of a stereotype that applies to virtually all humans, and appears to reveal the essence of humans, who seek stability by playing certain roles in society. Another point of emphasis is distance. The dancers are thrown apart from each other by some centrifugal force, as if a barrier has been erected on the stage, but soon return to their positions.

Perhaps this is symbolic of the limits of the human organism.

For some reason, to me this movement appeared geometric, as if governed by a specific pattern. The use of Bach, particularly in the form of an unaccompanied cello, for a theme like this is highly orthodox.

As I mentioned earlier, these Bach pieces were originally created as tools that allow the listener to feel the sublime presence of God, so the level of any dance performed to them is automatically raised by the power of the music. On stage, the dancers — men and women, young, middle-aged and old — expose their aged bodies as they are. They perform everything from aggressive, Muay Thai-like moves to sensual, tango-like interactions; at one point, the men form a line as if caricaturing some organization.

BWW Review: MITTEN WIR IM LEBEN SIND/BACH6CELLOSUITEN, Sadler's Wells

That is an expression of a stereotype that applies to virtually all humans, and appears to reveal the essence of humans, who seek stability by playing certain roles in society. Another point of emphasis is distance. The dancers are thrown apart from each other by some centrifugal force, as if a barrier has been erected on the stage, but soon return to their positions.

Bach ‐ BWV 383∶ Mitten wir im Leben sind

Perhaps this is symbolic of the limits of the human organism. For some reason, to me this movement appeared geometric, as if governed by a specific pattern.

In the Midst of Life Are We | The Free Lutheran Chorale-Book

Reading the brochure for the show afterwards, I was surprised to discover that a geometric pattern had indeed been drawn on the stage for this part. They move together, but not necessarily in unison, their plimsoles tapping the floor as if to provide the occasional accent to the music. The whole thing coalesces in the final section, when all the performers come together to dance their respective sequences simultaneously. Your pleasure comes from lasting the distance, rather than from the process itself. Want a pair of free tickets every month?

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