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Compagnie Burn Out in Jann Gallois’s “Quintette.” Photo by and copyright Laurent Philippe and courtesy Maison de la Danse.
Par /by Anne-Charlotte Schoepfer
Copyright 2018 Anne-Charlotte Schoepfer
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BRON (Rhône-Alpes), France — “Quintette”, vu le 1er mars, c’est l’histoire de cinq personnes, de cinq êtres humains qui se rapprochent, se décrochent ; s’entendent et se déchirent… Dans cette pièce de 50 minutes présentée à Pôle en Scène (Bron) dans le cadre du festival Sens Dessus Dessous de la Maison de la danse de Lyon, la jeune chorégraphe Jann Gallois a exploré toutes les facettes de l’accrochage et du décrochage par le mouvement. En fait, elle traverse le fait de laisser son égo de côté et de s’entendre ensemble ou alors bien au contraire de se mettre en avant et de tomber dans la dispute et la cacophonie totale. On passe alors par des moments très fluides et très doux à des moments très saccadés dans le corps et très bruyants par la voix….
BRON (Rhône-Alpes), France — “Quintette,” seen March 1, is the story of five people who come together, break apart, sympathize with each other and rend each other asunder. In the 50-minute piece, presented at the Pôle en Scène as part of the Sens Dessus Dessous festival organized by the Maison de la Danse in nearby Lyon, the emerging choreographer Jann Gallois explores every facet of connecting and disconnecting (in French, ‘accrochage’ and ‘décrochage’) with movement. As the dance develops, Gallois explores what happens when one abandons the ego, or, by contrast, elbows everyone else out of the way, leaving the ensemble to collapse into disaccord and complete cacophony. We thus careen between fluid and gentle passages and staccato jumps and starts punctuated with explosive vocal eruptions….
By Paul Ben-Itzak
Copyright 2000, 2018 Paul Ben-Itzak
In tonight’s return to the Paris Opera Ballet repertoire of Maurice Bejart’s “Bolero,” Marie-Agnes Gillot will dance the lead role. Gillot retires from the Opera March 31.
PARIS — For as long as I’ve been covering dance intensely, I’ve been hearing what a brilliant dude this guy Balanchine is. So much so that he doesn’t even require a first name on first reference — kinda like “God.” So I’ve not broadcast that many of Mr. B’s ballets leave me cold. But I had a nagging sense — mostly from seeing the work performed by Dance Theatre of Harlem and Suzanne Farrell’s companies — that it didn’t need to be so, and may have just been the tepid presentations by New York City Ballet, only selectively amended by San Francisco Ballet’s clean executions of the 1950s black and white dances. Well, Saturday night at the Palais Garnier, courtesy of Paris Opera Ballet dancers Jean-Guillaume Bart, Agnes Letestu, Delphine Moussin, Karin Averty, Beatrice Martel, Aurore Cordellier, and Dorothee Gilbert, I was re-educated: It ain’t necessarily so. Balanchine does not have to be coldly rendered. The abstract, architectural beauty of his ballets can be inhabited in a way that gives them life. Elsewhere on Saturday’s mostly winning mixed program, Manuel Legris provided a reminder of how Jerome Robbins humanized the dance, Marie-Agnes Gillot and Clairemarie Osta rendered Angelin Preljocaj’s stark world with warm humanity, and dancers no less talented than all these could not save the evening’s one premiere, Lionel Hoche’s “Yamm,” from making me want to yell, “J’accuse!” (As I don’t yet know how to say, “Make it stop!” or “Oy!” in French.)
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If there’s one person in dance who is consistent, it’s Battery Dance’s Jonathan Hollander, whose vision, contrary to the myopia which sometimes infects other leaders of the New York dance community, has always been both global and community-oriented in the larger sense. Receiving its premiere Sunday at 7 p.m. at the Museum of Modern Art as part of MoMA’s Doc Fortnight festival, Rob Fruchtman’s 2017 “Moving Stories” follows six dancers from Battery, including ex-Graham fixture Tadej Brdnik, as they travel to India, Romania, Korea, and Iraq to work with at-risk youth, with just one week to prepare a performance. The documentary is preceded by Maris Curran’s “While I Yet Live,” in which five acclaimed African-American quilters from Gee’s Bend, Alabama, discuss love, religion, and the fight for civil rights as they continue the tradition of quilting that brought them together, and followed by a discussion with some of the dancers, who also included Robin Cantrell, Mira Cook, Clement Mensah, Sean Scantlebury and Lydia Tetzlaff. Photo courtesy Rob Fruchtman.
(Dance Insider Principal Sponsor Ad) The Star-Ledger’s Robert Johnson calls Donna Scro Samori / Freepace Dance “astonishing and wonderfully gratifying.” For information on classes and upcoming performances, including the company’s December 2 appearance at the Montclair Arts Festival, click here. Above: Freespace Dance artistic director Donna Scro Samori and Omni Kitts, as captured by Lois Greenfield. Photo copyright Lois Greenfield. (To advertise your dance program, performance, audition, or product on the Dance Insider, please contact publisher Paul Ben-Itzak at email@example.com . Sponsor ads just $49 when you sign up by November 30, 2017.)
Crashing through the membrane: I still remember the first intimate ballet showing I was privileged to see, in Joffrey Ballet co-founder Gerald Arpino’s no-frills basement studio near the Church Street Safeway in San Francisco. The intake and exhalation of breath, the contours of the leg muscles and the grasping of hands right in front of you; there’s nothing like it for appreciating the hard work and honesty that goes into dances rigorously created and earnestly performed. Even moreso when the choreography is built around connections: of partners, of circles (evoking the primordial dances around a fire so eloquently described by Curt Sachs) — of the delicate digits of the pianist to the expressive hands and torsos of the dancers and the musicality of the dancemaker. New Yorkers will be gifted (much as I protest the recent lazy perversion of our language which turns nouns into graceless verbs, trampling the correct and more elegant versions in the process — right? — this term seems to ring just here) with such an opportunity Saturday in Brooklyn, when Mathew Brookoff and his Brookoff Dance Repertory Company occupy the Duffy Studio of Brooklyn’s Mark Morris Dance Center from 5 to 6 p.m., variously occupying Schoenberg’s Six Little Piano Pieces and a Schubert Impromptu in the veteran choreo’s anything but impromptu duet entwinings. (I plead for an exception for that one from Messieurs Strunk & White.) In addition to these new sculptures in motion, Brookoff also expands his recent group work “Fracture” (above) from six to 12 dancers. Free and open to the public. Pictured at the rear, from left to right: Andrew Harper, Tiffany Mangulabnan, and Jordan Miller; in front: Ali Block, Amy Saunder, and Brian Gephart. — PB-I (inspired by Harris Green)
Aki Tsujita in Darren Johnston’s “Zero Point.” Foteini Christofilopoulou photograph courtesy the Barbican.
LONDON — The muffled, thudding beat of Tim Hecker’s ambient sound score reverberates through our bodies — it’s like the noise you might hear waiting outside a cool nightclub. The dazzling bank of lights rotates towards the audience, blinding us before diminishing and plunging both stage and auditorium into darkness. Smoke fills the stage and laser lights shine down on it from above to create giant cones of mist. This is the hypnotically dramatic opening to Darren Johnston’s “Zero Point,” seen at the Barbican on May 26. A male dancer emerges from the claustrophobic gloom upstage and walks meditatively into one of the cones, fluidly progressing through a series of sculptural poses, working within the confines of the translucent edges. He leaves as two women emerge and take up position in the other two cones. In slow motion they sink to the ground then rise up again, turning, then repeat these motions, their mouths gaping open like gargoyles from an ancient civilization. Their physical language mixes Butoh, contemporary and Eastern ritualistic dance. It’s strong and grounded.
British choreographer and visual artist Johnston works with perception-altering visual and aural effects in “Zero Point,” which takes its name from Quantum Physics’s notion of ‘trapped’ space. Video projections, motion sensing digital technology, and trancey music transform the stage into another galaxy while lighting effects unzip the darkened stage into geometric sections for the dancers to perform in. Even time seems to be momentarily suspended.
“Zero Point” is a work that has been inspired by Johnston’s residency at the Museum of Art in Kochi, Japan. His cast of nine Japanese dancers who collectively draw from a range of disciplines including ballet, contemporary, Butoh, and Qigong are alumni of Tokyo’s New National Ballet, Sankai Juku, Netherlands Dance Theatre, and the Forsythe Company. The mixture of styles is performed with a contemplative quality and presence that is inspired by Buddhism and sacred Japanese ceremonial spaces. Movement flows in repeated cycles, with frozen poses pausing the tempo and the performers embodying a theatrical neutrality and modesty. Energy is contained and protracted through their bodies. There’s a welcome stillness and an aura of calm about them but also a lack of humanity. Sitting in the auditorium, I feel distanced from the performers and yearn for a fuller immersive experience.
Loose narratives of re-birth are played out through duets between Yatsutake Shimaji and ballerina Hana Sakai. He carries her onstage then makes her come to life, his hands hovering over her body, commanding her actions as if she’s his puppet. She ascends from the floor and extends to her full height on pointe, before gliding towards him as if under his spell. In their partnering Sakai and Shimaji create imaginative tableaux, but the use of balletic lines, while visually striking in the fractured light, lacks the earthy connection that is seen in the shapes of the contemporary and Butoh dancers. The demanding, ambitious Western associations of ballet jar awkwardly with the selfless Eastern spiritualism of the work as a whole. This balletic duet is also annoyingly patriarchal and while the other women move as equals to the men, with their freer expressions, Sakai does not, restrained by both her partner and her discipline.
While “Zero Point” is a reflective and inventive work which can easily seduce, choreographic ideas feel somewhat undercooked.