Post a Comment. From challenging the perimeters of performance spaces to upending the relationship between performer and audience to expanding and deepening collaborative processes, Edifice seeks after new understanding.
Textural dimensions abound throughout. Natural materials like wool, fiber, paper, canvas and cloth interact with texturally diverse choreography. Turned out extensions are broken into flexion by the lightest, most subtle impulse. Dancers on pointe and dancers in flat shoes perform side by side. And the partnering sequences toggle between traditional pas de deux and unconventional points of contact, like the top of the head.
As the lights rose on Type None , performed at West Wave Dance Festival 25 last September at Z Space, a young boy sits at a table stage right demonstrating the procedures associated with insulin injections โ a tedious, painful, relentless reality of life with diabetes.
Voices of children affected by the disease ring through the air as solos, duets, trios and full ensemble statements unfold. Early on, the boy rises from his chair, joining in a repeated port de bras sequence.
Later he pushes and pulls the dancers out of the way, exerting will and control. At other moments, he sits center stage, silent and still, mesmerized by the movement. Is he watching a representation of the cells within his body? Is he imagining freedom from constraint? Is he picturing himself at different points in his life? While two very distinct dance works, Edifice: Breaking Walls and Type None share a number of commonalities.
