Comments on: After Beauty http://blogs.walkerart.org/performingarts/2007/03/17/after-beauty/ Sat, 05 Jul 2008 22:24:28 +0000 http://wordpress.org/?v=2.3.3 By: Willa Drey http://blogs.walkerart.org/performingarts/2007/03/17/after-beauty/#comment-5964 Willa Drey Sun, 18 Mar 2007 16:47:55 +0000 http://blogs.walkerart.org/performingarts/2007/03/17/after-beauty/#comment-5964 Love Never Found Me Motion dissolves, striving ends, we are spared but haunted. Enough wildness can melt toward beauty, surprise has a calculated perfection, like an arrow narrowly missing the heart. In one body, we struggle to articulate separateness without being alone. Curves snap to angles, parallel lines meet, eyes stray, limbs torn by will mend through yearning, and across inestimable distance against all odds the scent of other disappears. (We all want heaven but no one wants to die.) Order is undone only at the moment of complete convergence, surrendering to a surge going nowhere it already isn't, both the pull and the reach relentless. We come to each other for the wrong reasons but with the right hunger. Our fall is identical to our climb and when your fingers touch my face I forget to remember they are not mine. Love Never Found Me

Motion dissolves, striving ends,
we are spared but haunted.
Enough wildness can melt toward beauty,
surprise has a calculated perfection,
like an arrow narrowly missing the heart.

In one body,
we struggle to articulate separateness
without being alone.
Curves snap to angles,
parallel lines meet,
eyes stray,
limbs torn by will
mend through yearning,
and across inestimable distance
against all odds
the scent of other disappears.
(We all want heaven but no one wants to die.)

Order is undone only at the moment
of complete convergence,
surrendering to a surge
going nowhere it already isn't,
both the pull and the reach relentless.
We come to each other
for the wrong reasons
but with the right hunger.
Our fall is identical to our climb
and when your fingers touch my face
I forget to remember they are not mine.

]]> By: Robert Haarman http://blogs.walkerart.org/performingarts/2007/03/17/after-beauty/#comment-5957 Robert Haarman Sat, 17 Mar 2007 20:50:06 +0000 http://blogs.walkerart.org/performingarts/2007/03/17/after-beauty/#comment-5957 Ms. Freeh, enjoy your authenticity in your performance as well, as that is why I enjoy the Sewell ballet as well. Having danced with you and Sally I agree with your comment on "human, then dancer". Some articles and blogs in Europe use, as I have heard in dialogue as well, (Andrew Boivin-Canada) the term interpreter for our American "dancer". This echos Tere O'Connor's use of contributor for the dancer. What I am grasping st here is a deeper more meaningful term for dancer. And the notion of "making it our own". Ms. Caspersen's comment in the Master class to articulate the movement, and let the body respond naturally to the initiation, I felt that as audience. Mr. Zabala's class, in breath and patnering, precipitated my felt, breathy, following in "NNNN". In Forsythe the interpreters were masters of their bodies in the choreography. The space, hmmm..."chamber" works, I am struck with a reflection of the space we go to see dance and theater. Brilliant transformation of the stage. Spare, and the dancers made it provocative when neccesary. Their gazes, pointed, or focussed. Engaging each other, or away. The partnering, such efficiency, as good as we have come to expect from learned German engineering. Yes, "Quintet". As good a dance as only a few can be. I trust the audience to accept this as merely rushed brevity. More to come. Ms. Freeh, enjoy your authenticity in your performance as well, as that is why I enjoy the Sewell ballet as well. Having danced with you and Sally I agree with your comment on “human, then dancer”. Some articles and blogs in Europe use, as
I have heard in dialogue as well, (Andrew Boivin-Canada) the term interpreter for our American “dancer”. This echos Tere O’Connor’s use of contributor for the dancer. What I am grasping st here is a deeper more meaningful term for dancer. And the notion of “making it our own”. Ms. Caspersen’s comment in the Master class to articulate the movement, and let the body respond naturally to the initiation, I felt that as audience. Mr. Zabala’s class, in breath and patnering, precipitated my felt, breathy, following in “NNNN”.
In Forsythe the interpreters were masters of their bodies in the choreography. The space, hmmm…”chamber” works, I am struck with a reflection of the space we go to see dance and theater. Brilliant transformation of the stage. Spare, and the dancers made it provocative when neccesary. Their gazes, pointed, or focussed. Engaging each other, or away. The partnering, such efficiency, as good as we have come to expect from learned German engineering. Yes, “Quintet”. As good a dance as only a few can be. I trust the audience to accept this as merely rushed brevity. More to come.

]]> By: Robert Hammel http://blogs.walkerart.org/performingarts/2007/03/17/after-beauty/#comment-5955 Robert Hammel Sat, 17 Mar 2007 18:28:32 +0000 http://blogs.walkerart.org/performingarts/2007/03/17/after-beauty/#comment-5955 Running to Frankfurt -- yes! I was on my way, when my wife took my keys, my credit cards and my shoes. She then reminded me that I had responsibilities, was physically unfit, and had no dance training. However, I saw it, I remember it, I was incredibly moved and it has renewed my faith in the power of the human imagination. Running to Frankfurt — yes! I was on my way, when my wife took my keys, my credit cards and my shoes. She then reminded me that I had responsibilities, was physically unfit, and had no dance training. However, I saw it, I remember it, I was incredibly moved and it has renewed my faith in the power of the human imagination.

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