2013 / 2014 Performance Season
-The New York Times
Doug Elkins Choreography, Etc.
ADI National Incubator Showcase
January 31 – February 1, 2014 at 8:00pm
LeeSaar The Company
February 22, 2014 at 8pm
February 23, 2014 at 2pm
“…emotional nakedness, free-associative logic, and frank sensuality, the work of the Israeli-born couple Lee Sher and Saar Harari is inventive and arresting.”
-The New Yorker
“Princess Crocodile” – a deeper glance at girlhood Understanding girlhood is like dissecting a chrysanthemum without tearing the petals and snapping the stem – it’s a complex and fragile process – that grapples with the idiosyncrasy and volatility of female fantasies and dreams. In Princess Crocodile, dancers reveal exactly that – the indefinite experience of becoming a woman, which draws on the constant wavering between self-loathing and self-loving, between feeling like a royal princess in one moment and in the next, an hideous, atrocious crocodile.
Lee Sher and Saar Harari build and draw from Gaga dance movement to collaborate with their dancers to create their works. They established this connection by giving the dancers “keys” to get deeper into their selves, so that the dancers continue their physical research daily. Each audience member develops their own nuanced relationship with the subject of adolescence while viewing Princess Crocodile. To some, the piece might speak to self-acceptance and confidence, while to others it might be the discovery of the balance between harmony and dissension with oneself. The themes of self-confidence, jealousy, humiliation, and pride combine to create an intricate vision of female psychology.
Kidd Pivott / Crystal Pite
The Tempest Replica
March 14 – 15, 2014 at 8:00pm
“… in the hands of a creative force like Pite [The Tempest] can lead to an art work of astonishing beauty and thoughtfulness.”
The New Yorker
In her new dance piece, based on motifs from Shakespeare’s The Tempest, Crystal Pite stages a game of revenge and forgiveness, reality and imagination. Pite explores these motifs in two contexts: a maquette of Shakespeare’s island as a metaphor for isolation, captivity and desire, and a nostalgic cityscape that evokes longing. Chalk-white replicas deliver the essential plot points of the story, but the emotion and tension of the narrative are fleshed out by real characters. To explore and demonstrate this duplication of character and copy, the story and the body, requires something incomparably precious: the mastery and articulation of the dancer.
ADI National Incubator Showcase
From once between
April 4 – 5, 2014 at 8:00pm
“When John Jasperse makes a new work, it should be seen: end of story.”
- The New York Times
Everything looks like something. But apparently you can¹t judge a book by its cover. Despite the interplay and disjunction between essence and appearance, all artistic work uses its perceptual surface (what it looks like, sounds like, feels like…) as a means of transmission. The aesthetics of a work of art speak to the value systems of its author(s), which are in turn formed through the construction of such eternally slippery terms as beauty.
ASSISTED LIVING: GOOD SPORTS 2 ASSISTED LIVING: DO YOU HAVE ANY MONEY?
“JUDSON DANCE THEATER, a group of experimental artists who masterminded a series of performances from 1962 to 1964, altered the course of dance history.”
The New York Times
April 25 – 26, 2014 at 8:00pm
Yvonne Rainer was a founder of the JUDSON DANCE THEATER in 1962.
ASSISTED LIVING: GOOD SPORTS 2 (2011) and ASSISTED LIVING: DO YOU HAVE ANY MONEY? (2013), two recent dances by Yvonne Rainer, extend the choreographer’s formal concerns with tableaux vivants and assorted texts read or recited by the performers.
GOOD SPORTS 2 began as a collection of New York Times photos, mainly from the sports section, accumulated by the choreographer for the several years. The photos were then distributed among the dancers Pat Catterson, Emily Coates, Patricia Hoffbauer, Keith Sabado, and Emmanuelle Phuon all of whom Rainer had previously worked with. Ultimately Good Sports 2 became a melange of sports and dance references, philosophical and political quotations, and choreographic metaphors suggesting group cooperation and sensitivity.
ASSISTED LIVING: DO YOU HAVE ANY MONEY? is an amalgam of movement and speech derived from a number of different sources, including Rainer’s own choreographic imagination and her collaborative process with her dancers. The piece presents new challenges for the group in that they are required to deliver long monologues while performing intricate steps. The texts comprise quotes from authors as diverse as John Meynard Keynes, Emma Goldman, Pierre Proudhon, Adam Gopnik, and Herbert J. Gans. Following her customary penchant for radical juxtaposition, Rainer has taken the risky route of juxtaposing vaudevillian pratfalls with solemn socio-economic analyses. The dire times in which we live seem to demand such an approach.
Tour produced by Performa.
Photo copyright Paula Court. Courtesy of Performa
“O’Connor is a master craftsman. He tells no stories, although fleeting images might tempt you to make up your own.”
The Village Voice
May 16 – 17, 2014 at 8:00pm
Marking the culmination of a two-year endeavor, choreographer Tere O’Connor collapses three of his dance works—Secret Mary, based on themes of authorship and agency; poem, a study in formalism, artifice, and complexity; and Untitled, a duet about the minutiae of personality—into a single hybrid creation. With each piece lending its own unique dancers, ideas, and approaches, Bleed forms a serendipitous new choreographic language. Meanings multiply through the layering, blending, and erasure of elements from each work; in the choreographic threshold between process and product, craft and coincidence, a poetic logic is revealed.
Christopher K. Morgan
ADI Resident Artist
May 30 – 31, 2014 at 8:00pm
“charming and poignant”
-The New York Times