Posted 14 May 2008 - 07:18 PM
Posted 15 May 2008 - 06:03 PM
In the Dancing Times article, Sarah Stackhouse talks about how the early modern dancers (i.e. Limon and Graham) were interested in capturing Expressive states and how they used these states to drive their bodies. She admits freely that many of the dancers were "terrible" from today's technical perspective. But she also says that they had an "engagement" with the material which animated their bodies.
I would love to see the Limon company perform Dark Elegies this Fall. But, alas, it looks like their major non-Limon (or Humphrey) revival will be Anna Sokolow's Rooms.
Posted 15 May 2008 - 07:19 PM
Posted 17 May 2008 - 06:48 PM
Karen Campbell in the Boston Globe:
Yet Tudor's expressive vocabulary never seems like mime. It is deftly, seamlessly integrated into phrases that cast the dancers in isolated anguish or bring them together in communal mourning. Heather Myers can't resist cradling a ghost child, and Larissa Ponomarenko tries to bear her grief with ramrod straight posture, flat palms pressed to her sides. Jared Redick interrupts angry kicks and jagged leaps with moments of stillness, arms open wide as if asking why. Toward the end, community comes together in a ritual-like folk dance, hands connecting, heel-toe kicks skewing side-to-side. And by the final tableau, there is a palpable sense of acceptance, the backdrop's blue and pink sky suggesting the light of a new dawn.
Jeffrey Gantz in The Phoenix (with photo)
Set to texts by 19th-century German poet Friedrich Rückert, they make circles (like Tudor in the fourth song) of grief and denial and submission
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