Review: 'Every Body Electric', Doris Uhlich at Bora Bora in Denmark

We all love our extensions, I think

Ambiorn Happy, Kulturnyt.net
28. january 2023.

Review of 'Every Body Electric', dance performance by Doris Uhlich. So we had to take the long walk, outside in the freezing january frosty night. Because many buildings are not made for people in wheelchairs. But on this night, the building has lost its resistance to a woman from Vienna, Doris Uhlich. She is in town with the dance performance 'Every Body Electric'.

The performance is about our handicaps, including people in wheelchairs. In fact the two performers this night, Adil Embaby and Vera Rosner-Nógel, are both using wheelchairs to swiftly get around. Even some in the audience are using the bodily extension named 'wheelchair'. So we go outside and walk the long road on the freezing interimistic wheelchair ramp into the huge dance hall of Bora Bora.

I want that wheelchair

I really like the dance performance, and I hate to admit, I'm in love with the Sopur Wheelchairs that the dancers use. Wow. If I lost my legs, I would go for that. 3.300 Euros, it's a bargain. I mean, look at the quality. The chair is easy to stow in a car, the wheels snap-off real easy. And the ball bearings! Don't get me started, the wheels just spin and spin. It's a beautiful machine, the wheelchairs from Sopur, Sunrise Medical.

And we all got that. A handicap and some bodily extensions. The wheelchairs on stage are extensions just like my 3 Euro glasses from Normal, and my old car from Renault, my brand new phone from Apple. All humans have extensions in order to live more comfortably, and we like our extensions. Make us feel proud and able to live a better life.

I want that body rhythm

The performance explores our relationship to the extensions. Sometimes we identify ourselves with the extension. "Hi, I am mr. BMW, nice to meet you!" Or "Hi, I just bought this latest model from Sopur! And how are you?" I love this exploration in 'Every Body Electric'. In one scene Adil hangs his extension in the ceiling. It hangs there like a dead horse. He don't need no fucking wheelchair from Sopur. This is true. Adil has so strong muscles when he dances, he can in fact levitate just in the pure energy from his movements. His body rhytm is like techno. Completely repetitive muscles and the bright mind, clear as the sunny day.

But then Vera lost one wheel and lay naked on the ground. Vulnerable. In comes the hero, Adil, and fixes her wheelchair.

We need those extensions. It's okay, don't worry. But the dance performance has a higher level.

I want that life energy

The movements in the performance. The nakedness. The exploration of our selves and our extensions. I think this show is for everyone to see and to explore. What is life energy? We know, that life energy is the only thing worthy of our attention. And we know, that every time we loose our attention, we loose life energy.

We should be present to be alive. Adil Embaby and Vera Rosner-Nógel are just that. Present. Rhytmic. Dancing. I liked the performance very much, and after the show the choreographer, Doris Uhlich said in an artist talk with Cath Borch Jensen on the stage:
"I am a political woman, but this is art happening." I like her view. Politics are spoken words, art is really happening. Thanks for the experience, brougt to Aarhus by 'Det Frie Felts Festival".

Every Body Electric
Choreography Doris Uhlich
Dramaturgy Elisabeth Schack
Performers Adil Embaby, and Vera Rosner-Nógel
Light, space Gerald Pappenberger
DJ Boris Kopeinig
Costume Zarah Brandl
Feedback Yoshie Maruoka, Theresa Rauter
Production Margot Wehinger
Photo Theresa Rauter
International Distribution Something Great.

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