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Alexandra

Paul Taylor's Dante Variations

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Rita Felciano reviews Paul Taylor's newest work, "Dante Variations," in this week's DanceView Times:

Dante Variations

Superscribed with a line from Dante’s Inferno (Canto III), “These are the nearly soulless whose lives concluded neither blame nor praise”, it is not difficult to see in this new work at the very least a certain impatience with people’s unwillingness to live fully realized lives.

More episodic, and more choreographed for individuals than is his usual want, Taylor’s opening image introduced a mound of faceless souls piled up into mass of limbs that began to stir like unearthed worms. It was not a pretty picture despite the elaboratedly painted and appliqued tights and tops which clothed the dancers in an armor of a scintillating reptilian look.

The piece consisted essentially of a series of solos, several of which used a somewhat gimmicky white scarf; it bound Annamaria Mazzini’s hands, stuck to Robert Kleinendorst’s foot and blindfolded Michelle Fleet.

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