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adf07:season_overview

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adf07:season_overview [2007/06/10 17:23] – created 127.0.0.1adf07:season_overview [2007/06/14 09:18] (current) – 127.0.0.1
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-MARTHA CLARKE+{{adf07:img143.jpg ?400|Season Cover}} 
 + 
 +[[adf07:Acts to Follow June 16]] preview 
 + 
 +[[adf07:Acts to Follow June 23]] preview 
 + 
 +**MARTHA CLARKE**
  
 The Garden of Earthly Delights (work in progress) The Garden of Earthly Delights (work in progress)
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 The opening Garden of Eden section has been almost completely rechoreographed, to new music by Richard Peaslee. There are "a lot more flights." And Hell's gotten a lot bigger, in a work Clarke hopes will prove "a richer tapestry than the original." The opening Garden of Eden section has been almost completely rechoreographed, to new music by Richard Peaslee. There are "a lot more flights." And Hell's gotten a lot bigger, in a work Clarke hopes will prove "a richer tapestry than the original."
  
-ANNA HALPRIN+**ANNA HALPRIN**
  
 Planetary Dance Planetary Dance
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 Just back from masterminding the 30th annual DanceAfrica Festival at the Brooklyn Academy of Music—where a scholarship was established in honor of his 70th birthday—Baba Chuck Davis shows no sign of slowing down. His research into the akonting, West Africa's precursor to the banjo, initiated a collaboration with Rhiannon Giddens and the Carolina Chocolate Drops on a new ballet fusing African music and dance with bluegrass music. Wintertime audiences caught a glimpse of BlueGrass/BrownEarth—and perhaps we will as well, in a concert presenting works based on Nigerian and Guinean dance forms, and his trademark, audience-uniting exhortation: "peace, love and respect for everybody." Ago! Just back from masterminding the 30th annual DanceAfrica Festival at the Brooklyn Academy of Music—where a scholarship was established in honor of his 70th birthday—Baba Chuck Davis shows no sign of slowing down. His research into the akonting, West Africa's precursor to the banjo, initiated a collaboration with Rhiannon Giddens and the Carolina Chocolate Drops on a new ballet fusing African music and dance with bluegrass music. Wintertime audiences caught a glimpse of BlueGrass/BrownEarth—and perhaps we will as well, in a concert presenting works based on Nigerian and Guinean dance forms, and his trademark, audience-uniting exhortation: "peace, love and respect for everybody." Ago!
  
-RUSSIAN FESTIVAL I:+**RUSSIAN FESTIVAL I:**
  
 CHELYABINSK CONTEMPORARY DANCE THEATER CHELYABINSK CONTEMPORARY DANCE THEATER
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 Thankfully, what we've seen since is a lot better. In Waiting, a group finds it takes a lot more than flinging off old peasant garb to discard a culture's ideas on gender roles, sexuality and romance. And the tantalizing glimpse we've gotten of The Other Side of the River depicts workers in a hotel laundry, borrowing guests' clothes to try on better lives as well. At one point the characters redefine irony by using irons to outline their hazy dreams in floating lines of steam, before two guests smoke and toast with their backs to us—while sitting on the shoulders of the laborers who get the scraps they pass down. Thankfully, what we've seen since is a lot better. In Waiting, a group finds it takes a lot more than flinging off old peasant garb to discard a culture's ideas on gender roles, sexuality and romance. And the tantalizing glimpse we've gotten of The Other Side of the River depicts workers in a hotel laundry, borrowing guests' clothes to try on better lives as well. At one point the characters redefine irony by using irons to outline their hazy dreams in floating lines of steam, before two guests smoke and toast with their backs to us—while sitting on the shoulders of the laborers who get the scraps they pass down.
  
-RUSSIAN FESTIVAL II:+**RUSSIAN FESTIVAL II:**
  
 IGUAN DANCE THEATRE IGUAN DANCE THEATRE
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 Our version of performance artist Vladimir Golubev's solo show, Non-solo, came without subtitles, so we're not exactly certain what we saw. A laconic, scruffy young man combined (apparently) sit-down comedic monologues with nifty accordion work and fairly fluid choreographic gestures. We're told it's a satire on acting, and is up for Moscow's version of the Tony, in a solo career after nine years with the Chelyabinsk troupe. But for now the best word we can give you is this: a lot was still lost in translation at press time.... Our version of performance artist Vladimir Golubev's solo show, Non-solo, came without subtitles, so we're not exactly certain what we saw. A laconic, scruffy young man combined (apparently) sit-down comedic monologues with nifty accordion work and fairly fluid choreographic gestures. We're told it's a satire on acting, and is up for Moscow's version of the Tony, in a solo career after nine years with the Chelyabinsk troupe. But for now the best word we can give you is this: a lot was still lost in translation at press time....
  
-PILOBOLUS+**PILOBOLUS**
  
 World premiere of work with Inbal Pinto and Avshalom Pollak; new Michael Tracy duet World premiere of work with Inbal Pinto and Avshalom Pollak; new Michael Tracy duet
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 Photo by La Frances Hui Photo by La Frances Hui
  
-EIKO & KOMA+**EIKO & KOMA**
  
 Quartet, Grain Quartet, Grain
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 The night also features Quartet, a world premiere the masters have created in collaboration with their new companions. It should be a memorable evening. The night also features Quartet, a world premiere the masters have created in collaboration with their new companions. It should be a memorable evening.
  
-HUBBARD STREET DANCE CHICAGO+**HUBBARD STREET DANCE CHICAGO**
  
 Repertory: Petite Mort, Kiss, Baker's Dozen, Lickety-Split, Palladio Repertory: Petite Mort, Kiss, Baker's Dozen, Lickety-Split, Palladio
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 Photo by La Frances Hui Photo by La Frances Hui
  
-SHEN WEI DANCE ARTS+**SHEN WEI DANCE ARTS**
  
 The Rite of Spring, Folding The Rite of Spring, Folding
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 We've called the result an unlikely mix of organic movement and architecture, compared its structure to a culture—either of cells or people—developing and behaving according to pristine, if enigmatic, rules and principles. Four years after its debut, a chance to see it live remains one of the "don't miss" moments this summer. We've called the result an unlikely mix of organic movement and architecture, compared its structure to a culture—either of cells or people—developing and behaving according to pristine, if enigmatic, rules and principles. Four years after its debut, a chance to see it live remains one of the "don't miss" moments this summer.
  
-ARGENTINE FESTIVAL I/II:+**ARGENTINE FESTIVAL I/II:**
  
 July 5-7, Reynolds Theater July 5-7, Reynolds Theater
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 Though Kevental is said to contrast between the mechanics and the sensuality of the body, the dancers' olive-drab trenchcoats and brusque manner suggest a surreptitious, paramilitary note from the start. Hasty maps and plans, chalked out under searchlights, suggest a resistance in a country under siege. When specific body parts are slowly, carefully manipulated under spotlight—in an otherwise darkened room—the procedures too easily recall those performed on the desaparacidos, and others in places besides Abu Ghraib. But exactly how does this company cross the language gap? And can it maintain such a level of intensity for the entire work? Though Kevental is said to contrast between the mechanics and the sensuality of the body, the dancers' olive-drab trenchcoats and brusque manner suggest a surreptitious, paramilitary note from the start. Hasty maps and plans, chalked out under searchlights, suggest a resistance in a country under siege. When specific body parts are slowly, carefully manipulated under spotlight—in an otherwise darkened room—the procedures too easily recall those performed on the desaparacidos, and others in places besides Abu Ghraib. But exactly how does this company cross the language gap? And can it maintain such a level of intensity for the entire work?
  
-ARGENTINE FESTIVAL III/IV:+**ARGENTINE FESTIVAL III/IV:**
  
 July 8-10, Reynolds Theater July 8-10, Reynolds Theater
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 In the second, separately ticketed concert, Mercado plays in the digital sandbox in Plano Difuso (Diffuse Plane), amusing himself and us as he explores the relationship between performer and digitized setting—sometimes not dissimilarly to Amy Yoes and Mark Haim's technochoreographic fusion last summer, Guide to Southern Trees. After that, Grupo Krapp's Luciana Acuña restages Susana Tambutti's The Stab. This campy, comic burlesque of gender roles on film recalls the Patti Smith quote "Every woman/ is evasive"—that is, when it isn't apparently taking notes from a lower-brow ditty by Robyn Hitchcock. The Stab's manic physical energy, penchant for quick-change and mileage on props alone recalls—of all things—Jim Carrey in The Mask. In the second, separately ticketed concert, Mercado plays in the digital sandbox in Plano Difuso (Diffuse Plane), amusing himself and us as he explores the relationship between performer and digitized setting—sometimes not dissimilarly to Amy Yoes and Mark Haim's technochoreographic fusion last summer, Guide to Southern Trees. After that, Grupo Krapp's Luciana Acuña restages Susana Tambutti's The Stab. This campy, comic burlesque of gender roles on film recalls the Patti Smith quote "Every woman/ is evasive"—that is, when it isn't apparently taking notes from a lower-brow ditty by Robyn Hitchcock. The Stab's manic physical energy, penchant for quick-change and mileage on props alone recalls—of all things—Jim Carrey in The Mask.
  
-PAUL TAYLOR DANCE COMPANY+**PAUL TAYLOR DANCE COMPANY**
  
 World premiere: De Sueños (About Dreams) World premiere: De Sueños (About Dreams)
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 And since Taylor tries to achieve some balance in his concerts, reflect on the other works scheduled: the serene, balletic Arden Court, and a more exuberant Esplanade. And since Taylor tries to achieve some balance in his concerts, reflect on the other works scheduled: the serene, balletic Arden Court, and a more exuberant Esplanade.
  
-PAST/FORWARD:+**PAST/FORWARD:**
  
 LAURA DEAN LAURA DEAN
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 But sustaining dance involves sustaining the people who create it. After a 34-year absence, Rudy Perez, a founding member of the Judson Church movement, has been invited back to present a new work at ADF. Just curious: What took so long? But sustaining dance involves sustaining the people who create it. After a 34-year absence, Rudy Perez, a founding member of the Judson Church movement, has been invited back to present a new work at ADF. Just curious: What took so long?
  
-MARK MORRIS DANCE GROUP+** 
 +MARK MORRIS DANCE GROUP**
  
 Repertory: The Argument, All Fours, Italian Concerto, Grand Duo Repertory: The Argument, All Fours, Italian Concerto, Grand Duo
adf07/season_overview.1181510610.txt.gz · Last modified: 2007/06/10 17:23 (external edit)