Dance / Superposition by Gabriel Sinclair and Jazmyn Carter. At the Courtyard Studio, until September 14. Reviewed by MICHELLE POTTER.

I have to admit that the word “superposition” was not previously part of my vocabulary but I was curious to know what it might mean in relation to a new dance work with that word as its title.

With a little research, I discovered that superposition was basically a scientific term, common in physics and mathematics. It referred to the combination of two distinct physical phenomena of the same type so they coexist with each other. But in a simpler description it might mean placing one object in the position of another to show that the two coincide.

The dance concept was brought to life by two dancers, Gabriel Sinclair and Jazmyn Carter. They performed in a circle of light projected on to the floor of the Courtyard Studio of the Canberra Theatre Centre by lighting designer Rhiley Winnett.

At first the dancers remained in the centre of this small circle of light, but, as the work progressed, they began moving to the edges of the circle and back again, with the circle of light expanding and contracting as necessary.

The movement began with arms and hands twisting and turning around and across each other. It was small but complex movement done with arms and hands remaining close to the body but never touching. Slowly, very slowly, the movement of the arms became broader and more expansive and the interaction became more intense. But the dancers continued to perform without physical contact. Here was the superposition of the title – two figures coexisting but not actually connecting.

While the movement was somewhat varied in the speed at which it was performed, and while the complexity of the movement continued throughout without any physical contact, perhaps what gave the performance a particular interest in relation to the concept of superposition was that the dancers were human beings rather than inanimate objects.

Occasionally, very occasionally, it seemed that the movement involved a human emotion. This was especially the case with Sinclair’s performance when there were occasions when his face and upper body seemed to be showing some kind of emotion.

I got the feeling that he was actually engaging with Carter in a way that was beyond physicality. This doesn’t happen with rocks, waves and other aspects of nature that are often involved in scientific superposition.

However, for me, the work at about 60 minutes was a little too long. I think the point was made quite early on, although it was fascinating to speculate on the remarkable complexity of the movement, and the even more remarkable fact that the dancers never touched each other despite that complexity. But my mind wandered.

It was the costumes by Leanne Carter that kept me interested. They consisted of long skirts that moved beautifully, and close-fitting, long-sleeved tops that never got in the way of the movement of the hands and arms. Made from an assortment of materials of different patterns and colours, with a strong presence of red, they were a highlight.