The set design features six moving mirrors that transform both the dimensions of the stage and the very perception of space itself. “It really feels like the set is a part of the choreography,” Höglund adds. “The set is like the sixth dancer. And the light is the seventh dancer. There’s seven colours on the spectrum. There’s only five dancers. So for me, the mirror and the light are representing the next two colours.”
Höglund created an original score for Prism. It’s the first full-length composition for a show he’s ever done, despite having a lifelong dream of making music. Using drones, orchestral sounds, and percussive beats, Höglund sought to evoke emotion through texture. The process for him was based on feeling, in order for the music to exist like an intrinsic presence. “I would look at the dancing [and think], ‘What do I see and what does it mean to me, and what would it taste like or what texture would it have?’”
Everything is connected. Even Tentacle Tribe’s diverse, signature movement style honours this in the way it breaks down techniques to find “optimal” ways of moving—“organic mechanics”—“to gain a greater understanding of how the body functions,” explains Höglund.
In Prism, self-reflection is the key that unlocks it all, both literally and philosophically. The production asks us all to look inward, using the mirror as a tool to apply such introspection in an attempt to better understand ourselves as well as those around us.
The conclusion, says Höglund, “at least for us, [is] that if you want to change something, maybe the only thing you can actually change is yourself.”
Catch Prism on stage at The Cultch’s Historic Theatre (YVR) October 23 to 27 | Tickets & Info
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