The concept of transforming a rave into a theatrical spectacle holds promise, much like the initial allure of Gisèle Vienne's creation, Crowd. The performance begins with 15 dancers gradually entering a stage covered in dirt, surrounded by remnants of cans and plastic bottles. A nostalgic techno soundtrack from the 1990s, reminiscent of the early rave era, accompanies their entrance, inspiring a desire to capture it in a playlist. The slow-motion movement and dance, the backbone of this show presented at the Teatros del Canal in Madrid, challenge the performers to maintain natural fluidity. In the opening scene, the dancers excel as they engage with one another, their slow-motion bodies interacting with the electronic music at a regular pace, creating a compelling contrast reminiscent of Bill Viola's audiovisual works, known for imparting new meanings through slow motion.

As the dancers greet each other, wander alone, smoke, or drink, the stage is filled with bomber jackets and colorful, wide-legged sweatpants with side stripes. Amidst this, subtle narratives unfold in the background, with violence emerging in the corners of the stage while the majority continues to dance. The juxtaposition of restrained celebration and violence becomes a recurring motif, yet the rave feels significantly diminished.

However, the intrigue dissipates prematurely as the performance descends into a cycle of repetition, lacking intentionality. While repetitive gestures can be effective in choreography, as evidenced by Pina Bausch's works or Olivier Dubois's Tragèdie, where dancers walk for half an hour inducing a trance, or Christos Papadopoulos's minimalist pieces like Larsen C and Mellowing, Crowd fails to harness repetition with purpose. The reiteration of movements and states feels devoid of direction.

Ultimately, Crowd is an enticing idea that dwindles into mere anecdote after an hour and a half of performance, stretching as though it lasted for three. It quickly loses its vigor, failing to resonate or captivate, even during moments of fleeting chaos as water and plastic bottles are thrown. Much like theoretical images that falter in practice, the performance lacks depth and impact.