Comments on: What I know about Forsythe http://blogs.walkerart.org/performingarts/2007/03/10/what-i-know-about-forsythe/ Sat, 06 Sep 2008 06:32:22 +0000 http://wordpress.org/?v=2.3.3 By: Robert Haarman http://blogs.walkerart.org/performingarts/2007/03/10/what-i-know-about-forsythe/#comment-5921 Robert Haarman Wed, 14 Mar 2007 19:59:56 +0000 http://blogs.walkerart.org/performingarts/2007/03/10/what-i-know-about-forsythe/#comment-5921 I knew nothing about this co., until this week and what I googled. Europe loves the co. Or some of Europe, and I am liking what I am experiencing in classes. Attention is cultivated about the inner intention and outward expresson of movement. Some exercises exemplified the co.'s training in and through ballet. Through by means of progressions into modern dance elements of release and extreme oppositions of limbs and spirals. Thus dynamics play an integral role in the expressions of movement for clarity of intention, identification of space and time, and the projection of story, character or other abstraction. I knew nothing about this co., until this week and what I googled.
Europe loves the co. Or some of Europe, and I am liking what I am
experiencing in classes. Attention is cultivated about the inner intention and outward expresson of movement. Some exercises exemplified the co.’s training in and through ballet. Through by means of progressions into modern dance elements of release and extreme oppositions of limbs and spirals. Thus dynamics play an integral role in the expressions of movement for clarity of intention, identification of space and time, and the projection of story, character or other abstraction.

]]> By: Sally Rousse http://blogs.walkerart.org/performingarts/2007/03/10/what-i-know-about-forsythe/#comment-5911 Sally Rousse Tue, 13 Mar 2007 04:29:10 +0000 http://blogs.walkerart.org/performingarts/2007/03/10/what-i-know-about-forsythe/#comment-5911 Well, you are in for something incredible. I have been loving this company since visitting Frankfurt in 1990, although, like Penny, I also was blown away by William Forsythe's choreography in "Love Songs" for the pre-crusty Joffrey (the work is available on video. You can see my maid-of-honor Leslie Carothers doing an amazing drunken releve to arabesque). The relatioship to music, to the space, to other people is strikingly different from anyone else's work. While we have suffered Forsythe wannabees who present dancing that is merely fast and motivated from the neck and shoulders, as though to prove "I am really into this cool, funky movement!"--- with Forsythe's company you see more possibilities, more sources. It may be the connection to and admiration for archecture. When I show non-dancing friends the dances on video they comment that it's clearly ballet dancers, even though they're wearing socks and there's not a tutu in sight, because of they relationship of the shoulders to the room (even upside-down). They remark about the physicality, line, tension, arched feet, as opposed to an airy, released quality you might find in modern dance. I like hearing what non-dancers have to say. So I'll end here and hope to read more than write. Well, you are in for something incredible. I have been loving this company since visitting Frankfurt in 1990, although, like Penny, I also was blown away by William Forsythe’s choreography in “Love Songs” for the pre-crusty Joffrey (the work is available on video. You can see my maid-of-honor Leslie Carothers doing an amazing drunken releve to arabesque).

The relatioship to music, to the space, to other people is strikingly different from anyone else’s work. While we have suffered Forsythe wannabees who present dancing that is merely fast and motivated from the neck and shoulders, as though to prove “I am really into this cool, funky movement!”— with Forsythe’s company you see more possibilities, more sources. It may be the connection to and admiration for archecture.

When I show non-dancing friends the dances on video they comment that it’s clearly ballet dancers, even though they’re wearing socks and there’s not a tutu in sight, because of they relationship of the shoulders to the room (even upside-down). They remark about the physicality, line, tension, arched feet, as opposed to an airy, released quality you might find in modern dance. I like hearing what non-dancers have to say. So I’ll end here and hope to read more than write.

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