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post:ballet\'s witty \'four plays\'

by:Marslite     2019-10-18
The Post: The Ballet Ashley fner and Domenico Lucino in the coloring of Robert Deke
Graphic: Tricia Cronin)
The Post: Ballet\'s new season at the center of Yerba Buena, San Francisco\'s art research theater, called \"Four Plays\", is a double theme that shows that we will take part in a relaxing night, sexy escape
On one level, that\'s what we got on the opening night.
But the idea of the dance directing Robert dekks is like a bullet train, and when we try to keep up with him, we realize that his dance is more than just a landscape of a streamlined body, there are also witty social comments.
Of the four pieces provided, three are newer pieces.
Artist Enrique quetello painted a mural on the stage with dancers Ashley Funa and Domenico Lugano-
Responding to mute directions and gestures from choreographers in one corner, Daniel berkeman sang him a serenade with the cello in another corner ---
Come together in a series of lightning
Quick date.
Every time they meet, they will repeat the previous cooperation measures ---a bold upside-
Get off the elevator, Hug tight, turn and balance in the forced arch-
Add a twist or new element occasionally.
The audience is drawn to these romantic attempts: the two men are destined to repeat the same basic pattern forever, thus ensuring that they will never exceed the first date?
Between the coupling of dancers abbreviations, Quintero adds detail to the abstract urban landscape behind them with thick black and white lines-
Just like zooming in on Google Earth.
From the audience, photographer Natalia Perez appears on a regular basis to capture photos of dancers on increasingly complex paintings.
When Quintero finally added a little blue to Stark\'s work, he broke some sort of spell.
The mural fragments form a triple line, each of which floats in a different direction (
A sail goes into the raf).
The couple joined in a passionate, more enduring duet.
Everyone left and then we faced a series of photos. -many in close-
The dancer\'s face is omitted. -
Continuous and rapid projection in the background.
Designed an excellent metaphor for the creative process ---
For the creepy city romance of Frana and luano,-
This also comments on the nature of intimacy and modernity --day voyeurism.
Six or seven of Robert Decker (
Photo: Natalia Perez)
Six and Seven is a fascinating solo of Philip Glass\'s epic Einstein on the beach, originally choreographed for a male dancer, but Thursday night by Jessica ·
The stage is bare on its wings, surrounded by only stage lighting fixtures, and the dancers look small and fragile, almost naked --toned leotard.
Crouching on the floor, twisting, sliding, running, mostly in the self
Steering protection
Her gesture is reminiscent of Nijinsky\'s Faune, who is increasingly daring to explore this daunting space, accompanied by the elaborate anarchy of Glass\' score: a fragment of a mediocre love story, a violin solo.
Collado shows the admirable fragility of control and shine, and there has never been a shortage of amazing effects in this work. (
Although Ballet is indeed biased towards people, against the use of socks in modern ballet ---
Similar to appearing at the dance in pajamas, it is not necessary considering the shoes that dancers can choose today. )
Christian Squires and Raychel Weiner of Robert dekkerers are in doubt (
Photo: Natalia Perez)
Closely ensemble works driven by spoken language, when in doubt, illuminate the gap between what we say and what we do.
First, it records the unstable but authoritative voice of old Bertrand Russell promoting charity and tolerance.
The dancer\'s movements are broad, quirky, eloquent, interrupted from time to time by the still, contrary to the rhythm of Russell\'s voice.
The rest of Jacob walkenhall\'s hypnotic score is a superposition of electric guitars and percussion instruments with a recording of the dancer\'s voice ---
At the beginning, it was incoherent, stumbled, and then gradually became easier to understand.
The fragments of the dancer\'s conversation seem to be deliberately out of context, although the language they speak exposes insecurity (
\"I don\'t know I\'m sure of anything, really ,\")
And uncertainty (
\"The way you go from A to B is A bit unimportant ,\")
The language of their dance is precise and fearless, shaped by the impeccable wording and musicality of Dirk.
Tiny gestures read boldly like big, sweeping movements;
Stylized use of fingers, cup-shaped hands and spikes creates visual punctuation.
The dancers stood out from the band for short duets and trio, but kept returning to the safety of the team.
By January, Berletti was wearing a minimalist black outfit that was relatively resistant to a whole naked outfit brilliantly illuminated by Jack Carpenter, and the whole company was in fashionWhen in Doubt (excerpts)
From the post: Vimeo ballet.
The fourth piece is an ambitious new multimedia collaboration with architect Robert Gilson, unlike the other three pieces.
Reminiscent of Cunningham\'s experiment in chance, the current shift is like an uneasy marriage between an ecological paper and a dancer\'s brain disorder course.
The Post: ballet artist in the field of Robert dekes
Graphic: Tricia Cronin)The premise --
The dialogue between the dance guide and the architect, modulated by Matthew Pearce\'s intoxicating composition for five violins and David Robertson\'s excellent lighting design-was intriguing.
But under the guidance of a complex roadmap inspired by the plant life cycle, the movement itself will be more satisfying in a lecture --
Rehearsal studio presentation format so we can fully appreciate this splitThe second decision.
The production of this work must be carried out in the brains of dancers, musicians and technicians involved in the creation of the scene.
Watching on the opening night, the works are too opaque, and the dancers are tentative in their movements.
Clothing does not help anything: Orange units with folds around the ribs, implying African tulips, bagging unattractively in some places, reducing the sense of movement.
Aidan Dejan and the post: ballet artist in the field of Robert dekes
Graphic: Tricia Cronin)
The most amazing element in the field of change at present is the six sculptures of Gilson and Catherine Caldwell, a string of sandpaper connected by the reprinted paper Center structure, down from the raf, rise and fall at all points of dance.
They are like fictional birds with very long feathers;
Once they touch the stage floor, the thin translucent rod bends and swings in an elegant arc.
At some point, dancers seek shelter in the lower places.
Hanging sculptures are now like some abstract futuristic forest.
If Dekkers decides to patch the work like he did with others, these wonderful poems can be used more imaginative.
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