(L-R) Manuel Roque and Nils Levazeux in Roque\u2019s \u201cBang Bang\u201d \u2013 Photo by Juraj \u017dilin\u010d\u00e1r<\/p>\n Roque joins Nils Levazeux<\/a> on stage, beginning by simply bending their knees and squatting to the rhythm. The first moments feel more like a test of endurance for the viewer, sitting in the repetition and giving it the time to evolve. The movement itself is athletic, pulling from drills you may see at practice for a sport. These beginning moments particularly reflect on the mechanics of a simple athletic movement, whether it is a hop or the stretch of an arm. The focus is on the muscular and skeletal structures. These motifs slowly ease into a more exhaustive practice as the repetitive actions become more balletic. The hops introduce a leg extension and turn. The endurance to keep going gains a new layer.<\/p>\n (L-R) Nils Levazeux and Manuel Roque in Roque\u2019s \u201cBang Bang\u201d \u2013 Photo by Juraj \u017dilin\u010d\u00e1r.<\/p>\n At some point, the show gains a rhythm of its own that makes magic out of the unknown. You start to question how their motifs could evolve \u2014 how they could hop further and jump higher. They even break unison, with one person lagging a few steps behind. Roque subverts the idea of a dance move by revealing the artistic side of sport. His approach illuminates the proximity sports motifs have to codified dance. It\u2019s subtly smart in this way.<\/p>\n The crux of \u201cBang Bang\u201d arises out of an accident. To be specific, a cough. As they keep going through the jumps, Roque coughs, but this doesn\u2019t stop him from moving. It at first feels comical, but his persistence shares something deeper. When problems arise, you don\u2019t let them deter you from achieving your goal at hand. Instead, it is simply an obstacle that adds a new layer to your initial intention. The exhaustion hits, Levazeux and Roque sweat through the steps and their initial attentive look dissipates. You can see the exhaustion through their faces as their eyes grow dazed and their jaws slacken from breathing deeply. When Roque becomes aware of his body\u2019s inherent reaction, he pushes against it, smiling. He turns the exhaustion into joy. His smile spreads throughout his entire body, and the hops that started to lose their static regain a buzz that keeps the piece moving forward.<\/p>\n (L-R) Nils Levazeux and Manuel Roque in Roque\u2019s \u201cBang Bang\u201d \u2013 Photo by Juraj \u017dilin\u010d\u00e1r.<\/p>\n The piece harnesses plenty of energy to the point where it becomes the norm. However, just as the high-energy movement loses its shine, Roque juxtaposes it with a moment of stillness. The aftermath of their effort remains \u2014 from their deep breaths to the sweat that drips onto the stage. Their chests rise and fall. Slowly, their quick breaths simmer to a soft sigh.<\/p>\n Manuel Roque \u2013 Photo courtesy of TRK.<\/p>\n Roque\u2019s curation of the piece toys with tension. He smartly uses the pause as a point of conflict, asking whether this is truly the time to end or keep going. Ultimately, he decides to keep going. From this point forward, the steps become more elaborate. The hops turn into pure dance. Yet, the coughs return. It\u2019s a comical accident that is essential and exemplifies the work\u2019s message.<\/p>\n Even when disaster strikes, the world doesn\u2019t end. The movements gain a mechanical edge. It feels like the cogs of a machine that must never end. But within it, the duo looks at each other and finds a point of connection. Here, Roque reflects on the importance of community when the state of the world is relentless. Suddenly, the raucous news happening outside the theater feels endurable with the support of those around you.<\/p>\n Nils Levazeux \u2013 Photo by Julie Artacho.<\/p>\n In the final section of the work, Levazeux and Roque return to the same squatting movement. The full-circle moment is a promise of continuation. Even when the lights dim, it is guaranteed that this movement will continue. The body will still bounce, and the world goes on. After witnessing the extraneous sides of the work, the moment of subtlety feels more complex, like a preparatory bounce before a sprint.<\/p>\n Admittedly, this review is late. My grandmother passed shortly after I saw the performance. I needed to step away for a moment. Returning to the work and remembering this echo \u2014 this bounce \u2014 my heart heals. Despite the chaos of life and the heartbreak of mortality, the world goes on. Following an instance of connection, of grief with loved ones, I can keep squatting, hopping and jumping into the next phrase of life.<\/p>\n Beneath its athleticism, \u201cBang Bang\u201d is a beautiful reflection on humanity and self-love. It is okay to cough and stumble. It is okay to stand still. These moments are meant to make the calm periods more profound and the chaotic ones more endurable.<\/p>\n To learn more about Th\u00e9\u00e2tre Raymond Kabbaz, please visit their website<\/a>.<\/p>\n Written by Steven Vargas for LA Dance Chronicle.<\/p>\n Featured image:\u00a0 (L-R) Manuel Roque and Nils Levazeux in Roque\u2019s \u201cBang Bang\u201d \u2013 Photo by Juraj \u017dilin\u010d\u00e1r.<\/p>\n \t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t![\"(L-R)](\"https:\/\/www.newsbeep.com\/us-ca\/wp-content\/uploads\/2026\/03\/cr_Juraj-Zilincar-Manuel-Roque-Bang-Bang-18-HQ-1024x683.jpg\")
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