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The Walker’s 12-Year Adventure with Jérôme Bel

In advance of our November 1–4 Jérôme Bel: Bookend Festival, performing arts curator Philip Bither reflects on the Walker’s decade-long commitment to this French conceptual choreographer’s work and development.  Since it began in the early 1960s, the Walker Performing Arts department has committed itself across artistic platforms and years (often decades) to key transformative artists. These artists’ […]

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Jérôme Bel. Photo courtesy the artist

In advance of our November 1–4 Jérôme Bel: Bookend Festival, performing arts curator Philip Bither reflects on the Walker’s decade-long commitment to this French conceptual choreographer’s work and development. 

Since it began in the early 1960s, the Walker Performing Arts department has committed itself across artistic platforms and years (often decades) to key transformative artists. These artists’ embrace of constant evolution and self-challenge significantly impacted their art forms—in the process changing how we think about the live arts. Whether it be Merce Cunningham, Trisha Brown, or Meredith Monk in the 1960s and ’70s; Philip Glass or Mabou Mines in the ’70s and ’80s; Bill Frisell, Eiko & Koma, John Zorn, or Bill T. Jones in the ’80s; Ralph Lemon in the ’90s; or Cynthia Hopkins, Jason Moran, Sarah Michelson, or Young Jean Lee in the ’00s, each of these artist-Walker relationships, many of which continue to this day, share important DNA. They began when the artists were lesser known. The commitments encompassed residencies, presentations, commissions, new scholarship, and sometimes even exhibitions and acquisition. Looking back, they form something of a spine for Performing Arts at the Walker, allowing us (curatorially) and our audiences (experientially) to go deeper with these artists, engendering heightened understanding of their ideas, their artistic processes, and the impact they were having on their art forms and on our larger world. All of the relationships are based in deep connections between staff and artists, fueled by curatorial admiration, empathy, and passion.

Our ongoing history with French choreographer Jérôme Bel is emblematic of these affiliations. Since 2005, the Walker has been the most consistent home for Bel’s work in North America. When I first experienced his work in 2003, I was not only moved by its freshness and intelligence, but also taken with the contradictory tendencies he was somehow able to balance within himself. A dance conceptualist/philosopher noted for his intellectual rigor, he is also an unapologetic populist and humanist. An artist aiming to radically subvert dance and theater, he frequently proclaims his love of both disciplines and regularly creates structures for compelling movement framed by a brilliant understanding of theatrical time. While gaining respect in the halls of academia and in the thin air of contemporary art’s upper curatorial altitudes, he had a common-man’s disheveled, self-deprecating personality and a wickedly droll sense of humor. He invents works with strict frames and hard-and-fast rules, but within them he allows for great individuality and personal freedom. He refuses to subject human emotion to derision or even suspicion but instead creates work that elicit joy, discomfort, compassion, and ennui. Like most past Walker-connected performance innovators, his work is not universally praised—it spawns apostles and fierce antagonists in equal measure.

Roma, Auditorium Parco della Musica 02 / 06 / 2004 - LA FRANCIA SI MUOVE - Festival di Danza Contemporanea Nella foto: 'THE SHOW MUST GO ON' di Jerome Bel Ph Riccardo Musacchio & Flavio Ianniello

Jérôme Bel, The show must go on. Photo: Mussacchio Laniello

Several years ago, in the early stages of planning our 2016–2017 season, we decided to raise our commitment to Jérôme Bel to a new level. We borrowed the notion of a mid-career retrospective from our visual art colleagues, but befitting ephemeral art, we conceived of it as a retrospective with an elastic sense of time. We sought to devise a sort of festival that would “bookend” the four past Bel works the Walker had shown—The show must go on (in 2005), Pichet Klunchun and Myself (in 2007), Cédric Andrieux (in 2011), and Disabled Theater (in 2013)—by presenting Bel’s newest large-scaled work as well as a remount of an important early signature work. With these two works, we aimed to close the circle while filling in essential gaps for our audiences. To allow greater depth, we added in the middle an evening-long curatorial conversation with Bel including a showing of one of his most revered dance films.

Preparing for his visit this week, a few memories of our past Jérôme Bel works came to mind. When I first saw a tape of Bel’s The show must go on in 2003, I was totally intrigued, but not entirely sure what I was seeing. It felt like a new, almost dangerous but electrifying type of proposition by a theatrical artist to the audience. Several leading US presenters (Chuck Helm at the Wexner Center in Columbus, Ohio, and Cathy Edwards at New York’s Dance Theater Workshop) joined us to build a tour for this large-scale work (more than 20 people traveling from Europe), which would be the first US exposure to Bel’s work.

When I met him in Paris a few months after locking in the tour, Jérôme remained reluctant, convinced Americans would hate his work. I reassured him, but privately I wasn’t all that sure. We planned to present The show must go on in the opening months of the then-new McGuire Theater in April 2005, but when construction got delayed, I moved the performance to the Pantages on Hennepin Avenue, where I thought the historical theatrical trappings and more commercial setting offered an even healthier friction between space and content. While we struggled to attract full audiences, the nearly 1,000 folks who came out over two evenings connected directly with the tension, intensity, radicality, and ultimately humanistic experimentation. Jérôme was surprised but thrilled that Americans responded so positively.  The total emptiness on stage at the start (as the DJ played “Tonight” from the soundtrack of West Side Story) and the other forms of minimalism and statis provoked people in different ways—nervous chuckling, shout outs, at one point two well-dressed couples out for a night on the town, jumped up in the aisles to create their own dance, the men whipping off their shirts and twirling them over their heads.  It was a wild couple of nights.  These many years later, The show must go on continues to tour the world, sometimes being re-cast and remounted by communities themselves.

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Pichet Klunchun and Myself

Our next work with Bel two years later was called Plichet Klunchun and Myself, a piece that proved a creative and educational revelation. Thai master traditional dancer Klunchun demonstrated and explicated aspects of Thai traditional dance to Bel on a bare stage, then Bel in turn danced and attempted to explain some of his minimalist movement constructions to Klunchun. Sincere, open, and funny, the work felt like a deceptively simple lecture-demonstration format, but Bel had shaped it with theatrical flair and nuance. It offered audiences both a newfound understanding of Thai traditional dance and new respect for how obscure some of the tenants of post-modern dance can be to those outside its sphere. A simple, explanatory exchange in Bel’s hands was transformed into elegantly compelling theater, independent from elaborate staging or high-end technical design.

In 2011, as part of another mini-festival we organized centered around Merce Cunningham Dance Company’s final legacy tour, we hosted Bel’s Cédric Andrieux, a portrait of the former Cunningham dancer performed in a movement-storytelling manner by Andrieux himself. Per Bel’s concept and shaping, Andrieux told and danced the story of his life, much of it built around his time with Merce, openly revealing how baffling he found Cunningham’s and Cage’s concepts at first, but sharing how after months it all clicked in for him. The autobiographical evening, shaped with Bel’s deft humanistic hand, offered audiences a new kind of window of understanding into Cunningham’s ideas.

Photo: Herman Sorgeloos

Jérôme Bel’s Cédric Andrieux. Photo: Herman Sorgeloos

Finally, in 2013, we invited a new large-scale work by Bel which seemed to represent the start of another major shift for him. Disabled Theater was a collaboration with Zurich’s Theater Hora, a company made up of accomplished actors with physical and cognitive disabilities. The work created a stir within the visual art and contemporary dance worlds across Europe, with responses ranging from rapture to critique. When I traveled to see it, I found it to be a deeply moving appreciation of the beauty, worth, and compelling individuality of each human. Many local audience members had as positive an experience as I had had, while for others it raised questions of representation, agency, and portrayal. While both Bel and detractors of the work shared the values of inclusiveness and of the importance to give voice and visibility to people with disabilities, the difference was in strategy and approach. It is a work that continues to resonate and represents a dialogue that continues to unfold, informing his latest creation that we will offer, GALA.

Having presented Bel’s works from 2003 to 2013, this “Bookend” festival covers unseen works from 2015 and 1995. GALA and the self-titled work Jérôme Bel showcase the longevity of Bel’s career and the diversity of his approaches. GALA is an unapologetic celebration of community within a rigid framework that is made fresh and new by the citizens of every city it visits. By contrast, Jérôme Bel, being remounted more than 20 years after it premiered (with its original cast), is startling in its sparseness and its efforts to strip away all but that which is essential for a dance performance—body, light, and sound—and present these elements in their most literal sense. Controversial to this day, Jérôme Bel functions as what fellow French choreographer Alain Buffard called “a minimalist manifesto applied to dance… It foils any attempt by the dancer and, likewise, the spectator, to interpret it emotionally. As a result, the subtle simplicity of this choreographic device allows for a critical reading of what is being done and undone in front of us.” I look forward to sharing with the Twin Cities the Jérôme Bel “Bookend” Festival of performances, discussions, and film screenings by one of the most inventive and debated artists of our time.

Jerome Bel's GALA

Jérôme Bel’s GALA. Photo: Herman Sorgeloos

Beauty at the Edge of Terror: A Conversation with Pavel Zuštiak

  Born in Czechoslovakia and based in New York City, Pavel Zuštiak is a director, choreographer, performer, and sound designer. He is also the Artistic Director of Palissimo Company which he founded in 2004 and the winner of the 2015 Juried Bessie Award for Outstanding Emerging Choreographer. This weekend, the Walker will present the Midwest […]

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Custodians of Beauty by Pavel Zuštiak. Photo: Maria Baranova

 

Born in Czechoslovakia and based in New York City, Pavel Zuštiak is a director, choreographer, performer, and sound designer. He is also the Artistic Director of Palissimo Company which he founded in 2004 and the winner of the 2015 Juried Bessie Award for Outstanding Emerging Choreographer. This weekend, the Walker will present the Midwest Debut of Zuštiak’s newest work Custodians of Beautyco-commissioned by the Walker Art Center, New York Live Arts, American Dance Institute, and Legion Arts. In Custodians of Beauty, Zuštiak questions where beauty is found and whether it needs our defense. With this piece, Zuštiak moves away from his usual large scale productions by focusing on a more minimalist approach to choreographing dance—picking away at the subject to find, perhaps, the truth of what beauty is.

I had the honor to talk to the artist himself over a cup of coffee and what follows is a series of questions and responses to get a better idea of who Pavel Zuštiak is as an artist, and how he went about creating Custodians of Beauty.

Ben Swenson-Klatt: So glad that you are able to sit down and talk! I thought we would start out with a few questions to get to know you. What inspired you to become an artist? Was there a particular moment or artist that inspired you the most?

Pavel Zuštiak: I was born in former Czechoslovakia in an area that is now Slovakia, and I was always attracted to the theater world as far as I can remember. I built my own lighting system for my homemade puppet theater when I was very young, then acted and sang on a very popular TV series starting at age nine. Early on I also studied piano—I almost went to a conservatory to study that—and then things kind of shifted; when I was 12, I started to dance by accident.

That’s actually a funny story. This was around the time when Flashdance and Dirty Dancing had just come out, so dancing was very popular and everybody was looking for studios to dance in. Slovakia has a very rich tradition of folk dancing, and every town had its own specific folk dance vocabulary and traditions. A schoolmate of mine wanted to go audition for a folk dance company, but he didn’t want to go alone and asked me to go with him. I said sure. We got to the cultural center where the audition was being held, but he messed up the dates and we ended up at a modern dance company audition instead. Everyone was in tights except the two of us! We both got in—he quit after a month—but for me it was a revelation. I was fascinated by the ability of dance to touch upon something that goes beyond words and yet can be very specific in communicating.

One particular moment made me recognize art making could be a vocation, and that was meeting Pina Bausch and seeing her work. She came to my hometown, Kosice, in Czechoslovakia in 1987 and rehearsed and performed at the cultural center where the dance company I was a part of resided. We observed her rehearsals, interacted with her, and eventually saw two of her seminal pieces, Café Muller (which she performed in) and The Rite of Spring. This experience blew me away and revealed how powerful dance and theater can be. It was truly a pivotal moment for me. Later I went to the School for New Dance Development in the Netherlands. Seventeen years ago I moved to New York, and that’s my journey.

But I would also say that very early on, because of all these different genres that I had explored, to me, in a theater performance, one is not more important than the other, so rarely I see set, music, or lighting just as a decorative element but as an element that can push the narrative of the piece.

Swenson-Klatt: You seem to be really aware of the sound and lighting, and I think you even mentioned that you are playing with scent in this production?

Zuštiak: Yeah, this is the first time. The show is titled Custodians of Beauty, so one of the very first tasks when talk

ing with designers was asking what is the most beautiful thing that you could witness in theater, musically, visually or scenically? So of course we

went through all this stuff including clichés, and someone brought up the scent of a rose.

Swenson-Klatt: And other scents,like perfumes?

Zuštiak: Yes, and I was reminded of how powerful scent can be in transporting you to a place or time in a very immediate way. This is the first show where I am playing with that, and I plan to explore that further in my next project, where I will be collaborating with a scent artist. So this is dabbling into something new.

Swenson-Klatt: Could you talk a little bit more about the collaboration you have with lighting designer Joe Levasseur, set designer Simon Harding, and sound designer Christian Frederickson, and how they are integral to Custodians of Beauty, in terms of pushing the narrative through transitions?

Zuštiak: I usually start with a question or dilemma around a certain subject or theme as an opening question or conversation, not only with the designers but also with the performers, who are equally contributing artists in the room. Out of those conversations and out of contributions from all of us, we start to look at a palette of possibilities. Ideas, scenes, and events start to emerge, and then at a certain point I end up with a series of… I call them images, but I don’t see it as a static moment. I start placing them in a certain order, looking dramaturgically at what kind of trajectory the show could have, and then I start shaping individual images or scenes, and their progression, throughout the show. In terms of my direction, often I come with an image or I come with a clear proposal or direction of a scene, and sometimes I know what function a transition or scene has and that’s my direction to designers, to problem solve. But it’s a lot of back and forth, a very organic process. I have worked with Christian, the composer, on five productions, and Joe Levasseur is the exclusive lighting designer that I have worked with since living in New York, so at this point they pretty well understand my aesthetic. I think we are also at a place where, we were joking, we can be like an old couple: we know when to fight over something and when to let go.

Swenson-Klatt: You bring up seeing the overall choreographic process as visual or image-based. Do you have a connection to visual arts or a way that the visual arts play into making movement?

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Pavel Zuštiak. Photo: Maria Baranova

Zuštiak: I think there are choreographers who are creating or editing through kinesthetic feedback, and that’s how they shape and edit the work. For me, it’s seeing the work and seeing all the elements together, and I am more and more curious in reduction: how far can I push reducing expressive modes into a simple statement or gesture that would hold much more than you are seeing? Like reduction in cooking—you taste something but there is a depth—many different ingredients that went through a long process to get to that point. Or like a capsule that locks together complex layers, or a statement. I like to see how far I can push that without losing the intensity of what goes into it.

Swenson-Klatt: And the way that all the different elements that came together. In other interviews you’ve discussed the research that went into this piece, like how its title is pulled from a 2009 address by Pope Benedict XVI when he met with artists at the Sistine Chapel, as well as the influence of Alva Noë’s book, Action in Perception, and Susan Sontag’s essay, “An argument about Beauty.” Could you talk about your research?

Zuštiak: The original speech by the pope already touches on some references from history. He quotes Plato, for example, who talked about beauty as something that shocks us out of ourselves, which I find fascinating, as a way of being disarmed as an audience member, which also leads to a certain loss of narcissistic vision and makes you aware of larger issues or gives you a sense of humanity. In the show there a few moments where we are eluding to this sensibility of breaking the fourth wall, to making the audience realize that we are here in the same room, that this is something happening collectively.

I came across an article with the same title in a wonderful Dutch magazine Works That Work, published by a Slovak editor, Peter Bilak, which mentions the pope and his speech to leading art makers of the time—his insistence of holding onto beauty as something important in their art making. I was perplexed that this was high up on his agenda, although the relationship of the church and art world is nothing new. That led me to research beauty throughout contemporary art history, and I realized how problematic this subject matter is and how in certain parts of the art world, beauty has become almost taboo. Often we feel more comfortable talking about something as interesting rather than beautiful, which Susan Sontag states at the end of her article as an argument for the definition and existence of beauty: “If you are watching a sunset it would be strange to say it is interesting rather than beautiful.” I find that when we say something is beautiful we are laying our cards on the table, while when saying something is interesting we are holding them close to our chest.

Swenson-Klatt: It’s kind of like calling on people to really stand by what they believe in. I think that is an important concept to tackle especially today, when sometimes it is almost easier to not have an opinion but to instead stay on the sidelines and say, “That’s interesting.”

Zuštiak: I think the resistance towards beauty also comes from its associations, for instance as something being pretty or as something that has to be symmetrical, these preconceived ideas of what beautiful means. Who defines that? I think the question itself has also become controversial: who is in charge of the definition of what is and what is not beautiful? Although the pope is approaching the artists as custodians, the title Custodians of Beauty for me is more of a question mark, i.e. who are the custodians? Is it the audience member? Is beauty in the eye of the beholder? Is it the curator, who presents the work, is it his or her responsibility? The questions that this subject raises are challenging and lack straight answers, and I found it to be a fertile ground for a new work.

Swenson-Klatt: In her article, Sontag brought up the feminine connotations of beauty, and of course in mainstream media beauty has almost become attached to the feminine. Did you play at all with gender?

Zuštiak: Yes, there is one scene that acknowledges that. I am acknowledging feminine beauty as an image or association, although the notion of beauty as the cover of a fashion magazine often relating to a product was not something I was going for in this piece. I was more interested in beauty that is at the edge of terror. You know you can be in the presence of a tornado and it can be a beautiful sight, but you are also at the edge of something that can consume you. I believe there are artworks that can produce the same effect.

Swenson-Klatt: Is there a piece of artwork that you find beautiful? That’s probably a big question.

Zuštiak: I’m sure there is. For some reason I’m going to music. I’m thinking of the work of Arvo Pärt, music I find incredibly simple yet immensely beautiful.

Swenson-Klatt: It’s a hard question! But maybe something for everyone to think about when they are approaching this piece.

Zuštiak: And by saying something is beautiful, there is also judgment, so that is part of the show, where—I don’t know how much I want to say because people should come and see—basically, it’s a subjective matter, something can be witnessed by two people but they can have polar opposite experiences. So it’s also touching on that; it’s a subjective thing relating to judgment. And that leads to perception, which leads to Alva Noë, who talks about perception as not something that happens to you but something that you do. So he is talking about perception as an active engagement with what you are seeing. And for me, not just with this show but for any show, the audience is the co-creator of the experience and it is a live thing. When that meets with what we are proposing and comes into a conversation, I feel like that’s what releases the magic of a theatrical experience, something unpredictable but alive.

Swenson-Klatt: It almost seems that by setting the context with the term beauty that you are asking the audience to be active participants and to make a decision about what they find beautiful.

Zuštiak: And I’m hoping that it’s not just about this show. I’m thinking of another performance that we did in a public space. It was called Halt! and was presented in the terminal of the Staten Island Ferry in New York City. There were three performers who were among the people that accumulated to get on the ferry, and after one of the shows I got an email from someone who came to see it, and she was saying that suddenly everything in that terminal, in her eyes, was choreographed. She said, “I left the terminal and it continued. I was on the subway and it felt like everything was a dance.” So her perception shifted and I would hope that this show could also shift people’s perception. There are many things in the show that look at subtleties, the mundane, and when you start looking at things for an extended period of time or from a different angle, you start to see things differently, so that’s also what I am hoping to achieve with the show.

Swenson-Klatt: Do you have any last words as the audience prepares for the show?

Zuštiak: I feel like non-dance audiences come to a dance show believing that there is a certain kind of experience they should be having rather than just having their experience, so I would say, go in with an open mind; have an experience first, and then start analyzing what happened rather than coming in with an analytical mind at the start of the show. The biggest compliment I received for my work was from an audience member who said, “I did not understand it but I know what it was about.” I think dance is not the best medium at telling stories but an amazing medium to tell stories in its own language.

Pavel Zustiak’s Custodians of Beauty will be performed Thursday through Saturday, October 20–22, 2016 at 8 pm in the McGuire Theater.

Audition Announcement! Choreographers’ Evening 2016

The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas’ current work disrupts Eurocentric cultural norms by creating dance […]

Rosy Simas. Photo: Gene Pittman

Rosy Simas. Photo: Gene Pittman

The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening.

Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas’ current work disrupts Eurocentric cultural norms by creating dance aimed at de-colonizing the Indigenous body. She is engaged in the dance field as a performer, teacher, curator, lecturer, panelist, activist, advocate and mentor to other Native artists and artists of color.

I see dance making as a way to reflect the times in which we live. My curatorial approach for this Choreographers’ Evening is to amplify the diversity of Minnesota dance and let dance makers lead the audience through a thought provoking, emotional, and kinesthetic 80-minute ride. I am excited to see and learn what Minnesota dance makers are stirring up in 2016. — Rosy Simas

Simas is a 2016 McKnight Choreographer Fellow, a 2016 First Peoples Fund Fellow, a 2015 Guggenheim Fellow, and a 2013 Native Arts and Cultures Foundation Dance Fellow. Her solo, We Wait In The Darkness, won a 2014 Sage Award for Outstanding Design and a 2014 City Pages Artist of the Year citation.

Choreographers’ Evening will take place on Saturday, November 26, 2016 at 7:00pm and 9:30pm. If your piece is selected, you must be available the week of November 21st (excluding Thanksgiving), as well as from noon through the performances on Saturday, November 26, 2016.

Audition Information:

WHERE:     The Walker’s McGuire Theater, 1750 Hennepin Ave, Mpls 55403

WHEN:       Wednesday, August 24 from 6–10pm

      Friday, August 26 from 2–6pm

      Saturday, August 27 from 12noon–4pm.

– You will receive a call or email confirming your time slot

– Auditions are in 10 minute intervals

– Pieces are usually 3-6 minutes in length and may not exceed 7 minutes

– Vimeo submissions are accepted, although live performance is preferred

– Works in progress are accepted

– Choreographers must live in Minnesota

For more information and to schedule an audition, please email Rosy at performingarts@walkerart.org, or call the Walker at 612.375.7550. Additional questions may be directed to Anat Shinar at anat.shinar@walkerart.org.

The Zone of Indistinguishability: Maneries by Luis Garay

When I was young, I imagined the inside of my brain looked like a library. Rows upon rows of tall bookshelves extended farther than the eye could see; where my memories, vocabulary, learned math equations, and everything else I knew were filed away. In this library, little workers ran around like mad to pull up […]

Photo: Dudu Quintanilha

Photo: Dudu Quintanilha

When I was young, I imagined the inside of my brain looked like a library. Rows upon rows of tall bookshelves extended farther than the eye could see; where my memories, vocabulary, learned math equations, and everything else I knew were filed away. In this library, little workers ran around like mad to pull up the string of words I wanted to say, they sprinted to the shelf where my history class knowledge was, and they put away the things I learned that day in the correct location. When a word was on the tip of my tongue, I imagined it as misfiled and unavailable until the little workers located it and put it where it was readily accessible.

It saves us a lot of time to be able to file our knowledge into categories, and we construct language and rules to adopt this knowledge quickly and effectively. We develop ways of trusting things we are familiar with, ways of recognizing potential threats, ways of sharing what we know with others so we don’t all have to experience everything all the time to know it. To group our knowledge and identify our experiences is part of being human.

Yet sometimes assumptions are made that everyone will have the same definition or relationship to something, and these expectations reveal how our definitions can acutely limit our understanding. Even ‘universal’ emotions (love, hate, fear, sadness) are experienced in myriad ways, and by acknowledging someone else’s experience of said emotion we expand our own ideas of what is possible.

What if we explored an exercise in un-defining? Is it possible to strip away the associations, the cultural connotations, the assigned meaning to a certain object, action, or symbol? Can the relationship between what we experience and how we come to understand that experience be altered? What if the flexing of a muscle didn’t necessarily denote the expression of physical strength or if a smile didn’t signify happiness? Can we re-imagine our understanding of the world from a place of utmost possibility, or does doing so limit our ability to understand and communicate with one another?

Questions of this sort are the seeds from which artist Luis Garay cultivated his intellectually stirring and physically captivating work, Maneries. The title references a term from Italian philosopher Giorgio Agamben’s 1993 book, The Coming Community. Interpreting Agamben’s theory, to Garay, “maneries” refers “to a sort of fountain from where all possible forms (tangible and imaginable) come from. Maneries is not the plural of ‘form,’ on the contrary, it is [one] place, and it refers to ‘an example.’ In one example, the universal and the particular are included… so maneries is a series of examples.” Garay also says that his “works try to ‘reduce’ or ‘elevate’ the body to its mere biological functions” – an attempt to unlearn those cultural and significations we have adopted. Using the body as source material in this way grounds it in the tangible and releases the imagination into pure potentiality.

With dancer Florencia Vecino, Garay created a pool of gestures, pictures, poses, and sculptures from which Vecino live mixes, like a DJ. The result is an ever-shifting and culturally evocative progression of movement and meaning. Archaic sculptural poses precede contemporary street dance moves, which are followed by indescribable yet specific movements reminiscent of something, somewhere, but Vecino moves through so quickly and with such confidence that this whirlpool of cultural connotations are scrambled. From this place of disassembled association, our knowledge waits, like a puzzle without a picture on the box, to be put together in an intentional way.

It is an impossible task, of course, since we ultimately cannot divorce what we know from the context in which we know it. However, we can engage in activities that reconfigure our relationship to certain objects, subjects, and information and that shed light on our own mental processes. The potential and the actual merge in Garay’s work as he utilizes tactics to elevate the state of the body, such as physical effort and meditation, and Vecino embodies these activities simultaneously. In a recent interview with FringeArts, Garay talks about the importance of Vecino’s energetic state for the performance.

We talked about it a lot, because this ‘state’ is very complex, it requires that she is very attentive, at the same time inside the piece and observing herself from the outside…. She has many rules to administrate at the same time. Many archives to execute. We talk about warriors all the time and what that could mean: she is a warrior of language.

Vecino serves as a sort of surrogate–representing and manifesting iconic symbols and ideas throughout history.

The vocabulary utilized in Maneries is at once extremely specific and intentionally ambiguous. Using movement as the medium of communication renders more possible ways of understanding the content being proposed. If a picture is worth 1,000 words, a movement in Maneries undermines words, excavating the very process by which we would have assigned meaning and definition onto it. The gestures, movements, photos, and energetic states that Vecino virtuosically crafts and executes are a real-time manifestation of the hypothetical. Maneries asks us–and allows us–to take the time to investigate everything, reconstruct our relationship to our own understanding, and it reveals the powerful impacts of such a process.

“The political task of humanity is to expose the innate potential in this zone of indistinguishability.” –Giorgio Agamben

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Maneries  by Luis Garay continues tonight, Saturday, April 23, 2016 at 8 pm in the Walker’s McGuire Theater. 

Luis Garay will also participate in a public panel, Dance Now: Perception and Influence, at the Bryant Lake Bowl on Sunday the 24th at 12pm. Garay will be joined by BodyCartography Project (Olive Bieringa & Otto Ramstad) and Kenna Camara-Cottman, on a panel moderated by Justin Jones. Admission is free; reservations are not required.

Feel Like This: Sam Johnson on Luis Garay’s Maneries

To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, performance-based artist Sam Johnson shares his perspective on Maneries by Luis Garay in the […]

Photo: Dudu Quintanilha

Photo: Dudu Quintanilha

To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, performance-based artist Sam Johnson shares his perspective on Maneries by Luis Garay in the McGuire Theater last night. Agree or disagree? Feel free to share your thoughts in comments!

When I enter the theater I am admittedly tired from a very long day. I woke up at six am to teach high school students modern dance, whatever that is. I agreed to write this overnight observation relatively last minute, just a couple of hours before the show, and sitting down I can already feel my nerves, can already feel the way thinking about writing about my experience is altering my own perceptions, is making me more analytical, is heightening my perceptions.

But what is happening on stage? There is nothing on most of the stage. It is dramatically, if blankly lit. Far on stage right there are two figures, one standing and shifting occasionally, the other sitting at a macbook, cords extending on the floor offstage.

I understand these conventions, the performers on stage performing casual, the exposing of the wires and lights of the theater. In my notes I scribble: “the theatricality of no theatricality.” That isn’t quite right, what I really mean is that these feel like signals of what the show will be, the lineage that it will draw from: “it will be about the body, it will be about the present moment, it will be in conversation with contemporary (read: western?) performance.” After the lights go out and the performance proper begins I realize I could read this as an overture, as both a small encapsulation of the entire performance and as a signal of how to view, and where to place, this work.

But before that Philip Bither comes on stage and tells the audience that because of Prince’s death there will be no artist meet and greet after the show. I jot down: “shadowed by the communal experience of loss.”

The show is a solo dance. One performer moving through various forms, starting in almost darkness and almost stillness (I think there are some spinal undulations going on? But this could just be my eyes adjusting to the low light?), and working through symmetrical gestures, athletic walking and running patterns, sculptural poses, and repeating gestural patterns that accelerate. The dancing is precise, rigorous, and controlled. It is impressive and full. I can get down with the amount of work it must have taken to so specifically embody this material. I can exult in how amazing bodies are, how amazing dancers are.

But as much as the control and precision of the dancing rings my embodied performer bells it also butts up against questions I have about the piece. As I mentioned earlier there is a person sitting towards the perimeter of the stage, which is also often the perimeter of the lit space, on a computer, playing the music. I read this performer as male, and the primary dancer as female. I read the choreographer as male. Throughout the piece the music and the lights frame my viewing experience. The music is either insistently atmospheric or relentlessly rhythmic. It is loud enough that I don’t feel like I can escape it (even when I try to plug my ears, its presence is still there). The lights are crisp and specific. They begin with a low spotlight on the dancer that gradually builds, and then when the dancer shifts to an upstage/downstage walking pattern there is the rectangle of light to frame her (contain her?), and then the movement shifts to take in the whole stage, and before we can register that change there are the lights flashing on and exposing the landscape for the dancer. I can’t help but tie both the music and the lights to maleness. To a male framing of a female body. There was literally a man sitting on stage watching a woman dance the entire time. And this is where the monumental control of the dancing failed me in the dramaturgy of the entire piece. I kept feeling like I was seeing a man seeing a woman. The athletic jogger; the naked, reclining, sculptural nude; the dancing muse. This incessant theatrical framing mediated my response to the performer, to the body on stage. I kept waiting for the moment when I would feel my spine moving in my seat, to feel my neurons firing in response to this beautiful dancing body, but that moment didn’t arrive for me. I kept waiting, too, for the performer to break out of the framing devices. To feel defiant, or messy, or obstinate, or cynical, or broken, or flippant. In retrospect it felt like I was watching the warm up and start of a marathon, but only through mile ten or so. That time when the runners are starting to get tired but are still going strong. I think I craved seeing the end, when the nipples start to bleed and shit is running down legs and the body breaks down in the middle of the road out of exhaustion and joy and pride. I want to know what is after this beautifully constructed dance for this beautifully proficient dancer with these technically immaculate lights and sounds.

As I left the theater I had and overheard casual conversations with several people. I heard at least three people say some variation of: “don’t you want to go the gym after that?” I did want to go to the gym, but I’m not sure if it was because I wanted to feel that way or be seen that way.

Maneries continues in the Walker’s McGuire Theater tonight (Friday, April 22) and tomorrow night (Saturday, April 23) at 8 pm.

Talk Dance: Luis Garay on Maneries

Talk Dance is a podcast series devoted to in-depth conversations with dance artists produced and hosted by local dancer, educator, and commentator Justin Jones. In this installment, Jones speaks with Luis Garay, whose work Maneries will be performed in the Walker’s McGuire Theater April 21-23, 2016.  You can listen to the full podcast on the Walker Channel.   […]

Photo: Courtesy the artist

Florencia Vecino performing Luis Garay’s Maneries.  Photo: courtesy the artist

Talk Dance is a podcast series devoted to in-depth conversations with dance artists produced and hosted by local dancer, educator, and commentator Justin Jones. In this installment, Jones speaks with Luis Garay, whose work Maneries will be performed in the Walker’s McGuire Theater April 21-23, 2016.  You can listen to the full podcast on the Walker Channel 

The title of Luis Garay’s 2009 solo dance, Maneries, is taken from the name of a chapter in philosopher Giorgio Agamben’s 1990 book, The Oncoming Community. “Maneries” is a concept that reconciles, as summarized eloquently by Garay in our conversation, “the universal and the particular, which is a big philosophical problem. The solution for [Agamben] is in the examples. For instance, this telephone. When I say ‘for instance,’ we are talking about this telephone in particular and at the same time when I mention an example of this telephone, I am referring to all possible telephones that existed and will exist. So an example is at the same time universal and particular.”

After our interview I went to Agamben’s text and found this passage which I think speaks to Florencia Vecino’s breathtaking performance of Garay’s solo:

…a manner of rising forth; not a being that is in this or that mode, but a being that is its mode of being, and thus, while remaining singular and not indifferent, is multiple and valid for all.

Watching a shaky documentation of the solo, I sense Florencia resisting the performance of recognizable states of being, and effort-fully inhabiting each second of each movement, in each moment. The movement at once hints to a furiously changing inner life, and is yet devoid of personality of affect. She achieves a performance that, like Agamben states, is singular in its stark presentation of a body in extreme exertion, and yet, like a cartoon face without distinct features, allows for projection and connection. Particular and Universal.

The performance is generated anew each time through a complex series of rules followed by Florencia. Garay gave some examples:

For instance, when you’re getting close to the meaning of one form, you should avoid it… We work with the body as a writing machine. So, when that writing is getting, is making sense, she has to avoid that and turn another way for instance.  But that, its a complex system. ‘Complex’ means that there are many rules at the same time. For instance, at the same time… she has to write information in the space with [her] upper body… [and write] different information with her legs… Another rule could be that she has to contradict herself, whatever that means… So, I think all the building of these rules are just trying to put her in a state in which she’s creating her own problems.

Beyond that, we talked about his love of David Lynch films (“strange, dark, mysterious energy”), his connection to the visual artists in his home city of Buenos Aires, how he started dancing (an inability to read and sing in Finnish), and about the value of Art. It was a fascinating conversation.

Maneries has had a long life for a dance work. It premiered in 2009 and has toured on and off again for seven years. Garay mentioned that he looks back to this piece like an “oracle… a resource to understand my own work.” He went on to say that, “the piece is speaking to me about the things that I wanted to do in other pieces and in the future… I always go back to it to understand the other pieces that I’ve done.” I look forward to visiting the oracle, Maneries, to peer into the future of Garay’s fascinating work.

Upcoming Opportunities for Choreographers

Momentum: New Dance Works 2017 Proposals are now being accepted for Momentum: New Dance Works 2017. This long-standing annual dance series provides innovative emerging choreographers support for artistic development and a professional presentation of a new evening-length work. Since 2001, Momentum has highlighted Minnesota’s groundbreaking contemporary dance artists–many of whom are now nationally and internationally recognized–and […]

Momentum 2015. Photo: Alice Gebura

Broken by Luke Olson-Elm, Momentum 2015. Photo: Alice Gebura

Momentum: New Dance Works 2017

Proposals are now being accepted for Momentum: New Dance Works 2017. This long-standing annual dance series provides innovative emerging choreographers support for artistic development and a professional presentation of a new evening-length work. Since 2001, Momentum has highlighted Minnesota’s groundbreaking contemporary dance artists–many of whom are now nationally and internationally recognized–and marks artists in the Twin Cities as some of the nation’s most vibrant cultural producers. Momentum seeks applications from choreographers working in all styles, aesthetics, and approaches who represent contemporary dance in the world today. Performances are July 13-15 & July 20-22, 2017.

Proposals are due Monday, May 2, 2016 by 5:00 pm. There is a Public Information Session on Monday, April 25 at 3:30 pm (during the Monday Night Grant Circle meeting) in the Cowles Center’s Target Education Studio, 2nd floor. Click here for more information and eligibility requirements.

Momentum: New Dance Works is presented by the Cowles Center for Dance & The Performing Arts in partnership with the Walker Art Center and the Southern Theater, with support from the Jerome Foundation.

pa2015ce_Fire Drill Performing Arts; Performances; Dance. Choreographers Evening, November 28, 2015, McGuire Theater. Curated by Justin Jones, local dancer/choreographer/sound designer/teacher and all-around innovator. Featured choreographers are DaNCEBUMS, Vie Boheme, Ea Eckwall, Fire Drill, Kathie Goodale, jestural, Pedro Pablo Lander, Angelique Lele & Cary Bittinger, Tom Lloyd & Craig VanTrees, Dolo McComb, and Jeffrey Wells. From established dancemakers forging new ideas to the scene’s youngest and brightest, Choreographers’ Evening has, over the course of 40-plus years, become an honored rite of passage in Minnesota dance circles. Photo by Alice Gebura for Walker Art Center, Minneapolis

Novelty Shots: A Political Fantasy (excerpt) by Fire Drill, Choreographer’s Evening 2015. Photo: Alice Gebura

Choreographers’ Evening 2016

The revered conglomeration of Minnesota dance artists will be back this year for its 44th installment. Choreographers’ Evening 2016 will be presented at the Walker Art Center on Saturday, November 26. The call for submissions is extended to all Minnesota-based choreographers and choreographic collaborations. Curated each year by a leader in the local dance scene, Choreographers’ Evening exposes the unique yet vast approaches to dance and performance by a plethora of artists. Be on the lookout for the announcement of this year’s curator and audition dates!

From Impersonation to Celebration: Penelope Freeh on The Ghost of Montpellier Meets the Samurai

To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today,dance artist Penelope Freeh shares her perspective on The Ghost of Montpellier Meets […]

Photo: © Orpheas Emirzas

Photo: © Orpheas Emirzas

To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today,dance artist Penelope Freeh shares her perspective on The Ghost of Montpellier Meets the Samurai, which had its US premiere at the Walker this weekend. Agree or disagree? Feel free to share your thoughts in comments!

For Trajal’s Harrell’s newest work, The Ghost of Montpellier Meets the Samurai, it is best to go along for the ride. You can trust it.

The piece gets off to a whimsical start, with lying, impersonations, and the retelling of made-up-in-the-first-place histories. It was a slow elaboration and yet we knew that: “It will take 22 minutes to get to a dance section.” Prior to then, we heard the apology, “I’m sorry for being just a dancer.” This was a deep commentary disguised as comedy. The statement had a ring of truth, or maybe I’m just reading into that.

Despite the many and varied influences upon this work and its slow, origami-like unfolding, it is, essentially, a dance-driven piece. In other words dance is essential, it is this work’s essence.

There was a quiet confidence. A little sly, a little teasing, we were led through a process of discovery. I felt as though the bones of construction were exposed, just covered enough to be mysterious, but pale in the crescent-moonlight to read as bones, i.e. building blocks, DNA, of this piece, a long form exploration of imaginatively intersecting (shoving together) the dance forms of Dominique Bagouet (’80s French Nouvelle Danse innovator) with Tatsumi Hijikata (the founding father of butoh).

What emerged from this playful notion was by turns charming, kick-ass, virtuosic, meditative, touching, smart, and joyful. There was a fashion show that escalated into a brilliant character revelation of an old lady, doubled over yet able and hip. Five low-lying platforms plus a table and stools were well used for this passage, creating depth and verticality. There was sassy, raucous air and actual heel walking.

The stakes became hotter as an accumulation of rapid-fire, guttural dancing occurred. The seven performers soloed until they were replaced, exhausted from gyrating, vibrating and throwing their limbs around, fast yet relaxed, always upright.

Perhaps my favorite passage was a male duet that turned into a trio. It was feminine, strong, luxurious and silky-fluid. Clad in deconstructed kimonos, feet and legs disappeared leaving the concentration on arms, hands, heads, faces, experiences…

The soundtrack (by Harrell) supported the work just so, never dominating despite the loudness. Volume supported what was already going on. It, and the several ‘80s popular music choices, never dictated the action.

The end, with the audience clapping and the bows getting quite close to us, felt like a celebration. The generosity was real and sincere which strikes me as rare in work so heady. But then I remember that despite Harrell’s self imposed mandate to reference, expound upon, bring to light, and elaborate other people’s work, he ultimately ends up with a third thing. Exploratory, self-referential, and original, The Ghost of Montpellier Meets the Samurai becomes something worth celebrating for itself alone.

The Ghost of Montpellier Meets the Samurai continues in the Walker’s McGuire Theater tonight (Sunday, March 13 at 7 pm).

 

Talk Dance: Trajal Harrell on The Ghost of Montpellier Meets the Samurai

Talk Dance is a podcast series devoted to in-depth conversations with dance artists produced and hosted by local dancer, educator, and commentator Justin Jones. In this installment, Jones speaks with Trajal Harrell, whose work The Ghost of Montpellier Meets the Samurai will be performed in the Walker’s McGuire Theater March 11-13, 2016.  You can listen to […]

Photo: © Orpheas Emirzas

Photo: © Orpheas Emirzas

Talk Dance is a podcast series devoted to in-depth conversations with dance artists produced and hosted by local dancer, educator, and commentator Justin Jones. In this installment, Jones speaks with Trajal Harrell, whose work The Ghost of Montpellier Meets the Samurai will be performed in the Walker’s McGuire Theater March 11-13, 2016.  You can listen to the full podcast on the Walker Channel 

***

Justin Jones: “Where do you call home?”

Trajal Harrell: “… Home for me is in many places I guess would say. I certainly call home where my mother is, my mother is in Douglas, Georgia. One of my homes is New York, and that will probably always be because I spent so many years there. Because I’m touring so much … I do have a place here in Athens that I sublet. And I also spend quite a bit of time in Vienna. … But … when you’re on the road as many weeks as I am you kind of, the internet can be your home too because that’s where you … have your continuity of relationships and friendships. … I don’t have a answer but I know that its certainly not singular for me.”

… 

Jones: “…before we finish our interview. Would you mind just saying your name once.”

Harrell: “No, because, now I’m realizing it’s a funny question because people pronounce my name a lot of different ways you know and I answer to them all. … And you’re the first person to ask me that question … I’m reluctant to have one pronunciation.” 

Something about these two exchanges from my recent interview with Trajal Harrell speaks volumes about his mercurial choreography. Yes, he creates dances, and they are very much located in the body, but the work is as much theater and performance art and runway show and voguing ball as it is proscenium dance. The notion of identity plays strongly in his work. Who is who, Are they runway models or are they dancers? Are they characters from a Greek drama?  Are the performers themselves or are they “themselves”?

Trajal is well-known as the creator of the “Twenty Looks…” series, a collection of dances that imagine a fictional collision between the Harlem voguing balls (watch Paris is Burning now if you haven’t) and the Judson Church postmodern dance scene of the 1960s. As in a fashion collection, each piece was created with a different size (XS, S, M, L, M2M, XL). The Ghost of Montpellier Meets the Samurai  takes the idea of size and audience to another place. As he said, “the Twenty Looks… project had this important idea around the sizes of the pieces and how they were […] enlarging the audience through each size […] I really wanted to enlarge the audience even further with Ghost… I wanted to make this for a kind of mainstream audience. And I felt that none of the pieces before had gone that far. I mean mainstream is a strange word, but I’m gonna use it.”

Trajal and I also spoke about what feels new about this piece, which centers around the work of French choreographer Dominique Bagouet and Tatsumi HIjikata, two relatively un-famous artists who died young before their work was done. Trajal went on, “You know we have this fascination with people who died young somehow. But, because they were in very unknown fields, we didn’t have a kind of cultural mourning around them… I didn’t know how you take something that’s tragic or mournful in a way, and by the end get the audience to to sense, to have this great appreciation for life and the joy that we’re here together even though we mourn. And so that was very new for me.”

Though Trajal’s work is about history and springs forth from intense research, what I find fascinating is how that research influences the work. In no way does he attempt to recreate, rather, he uses his research to, as he said, “generate a language on the stage, and a movement practice… informed by operations that may be in those forms.” He went on, “Bagouet was very well-known for his very specific use of the hands and there’s a lot of that in ‘Ghost…’ We don’t try to make Bagouet movement, but there’s this sense of the hands being very important… It’s only a way to generate and get closer to what I want to make as myself.”

Though home for Trajal is not as he said, “singular,” he is an American, and I wanted to hear from him about what it meant to work so closely with the choreography and biography of two non-American artists, working outside of American culture. His response: “American culture has really exported itself into a lot of cultures… and certainly both [Bagouet and Hijikata] have been influenced by American culture and by American artistic creation. And, how do we draw those lines? How we write history and how we think about culture? I’m suspicious of that. In the best sense.”

I look forward to seeing how those suspicions manifest in The Ghost of Montpellier Meets the Samurai.

And the Space Will Be Transformed: Erin Search-Wells on Faye Driscoll

To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Erin Search-Wells of SuperGroup shares her perspective on Thank You For Coming: Attendance by Faye […]

Thank You For Coming: Attendance by Faye Driscoll. Photo: Photo: Maria Baranova

Thank You For Coming: Attendance by Faye Driscoll. Photo: Photo: Maria Baranova

To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Erin Search-Wells of SuperGroup shares her perspective on Thank You For Coming: Attendance by Faye Driscoll. Agree or disagree? Feel free to share your thoughts in comments!

These are the good times, when your body can do that.  This is what it’s like to go out and know a few people, and kind of arrive deep and known and felt.  This is what it feels like to recognize someone as who they really are.

I think I always look like that at a party, stop-motion video laughing maniacally.  I think the camera would probably catch my multiple chins though; I might not look as glamorous in the outfit I have put together.  I might feel like a real dork in this gold shower cap.  After the party I’ll notice that the shower cap left an indent on my forehead.

Everybody might expect me to join in and dance.

It is nice when you don’t realize a transition is happening.  It is nice to feel like something has gone on for a long time so it probably will start to morph soon, but then it goes on a little longer and you look back and realize it has changed.  It is nice to realize you missed the change again.  This level of transformation between sections takes meticulous crafting.  I was reminded that this type of crafting is not only about saying “no, not that,” but also “yes, yes, yes YES.”  It is nice to see something played long because it is simply so satisfying to watch.

I think I have seen another show recently where I was invited to join in the party at the end.  It was the last BodyCartography show.  And they both circled the space like a folk-dance, and dimmed the lights, and got a little bacchanal.  And I think I’ve been welcomed to a show with a song recently.  And the way clothing came off and naked parts of bodies writhed I was reminded of luciana achugar’s OTRO TEATRO.  All of these associations are not being recalled for nothing.  In fact is it performance zeitgeist? Is it our job to take the temperature of the audience and provide something that they can’t get from other art forms?  Why does contemporary performance, or dance-theater, still feel like the most necessary form to me?  Well we have to make a list of what it can do that other things cannot do.  Film can certainly create the most realistic bear fight.  So that’s done.  In fact we should probably stop trying to stage naturalistic dinner parties because none of the stage china will make the right sound when it’s broken.  But I digress.  What does this form have?  It has a live, relatively game audience.   It has willing, flexible, multi-disciplinary, practiced performers.  It has lights, props, costume, moveable seats.  It has musical capabilities ranging from acoustic, to voice, to reverberating beats.  It has microphones.  We should use these things but what is the hole in peoples’ lives that we will try to fill?  Communal experience.  Acceptance of personhood, yes.  Recognition of difference, yes.  But definitely communal ritual. Is this why we are seeing these things happen in contemporary performance?  I think mostly artists have their form and their interests and they are whittling away at it.  But it’s not like other forms where you go in a room above a garage and practice strokes.  It is completely in touch with the world.  And that is why I think there is a bigger reason we start to notice patterns in what we are seeing on stage.

The last thing I will say about this piece is that the performers are truly amazing.  I was just plain impressed by how many layers of their experience they were transmitting simultaneously.  Faye’s directions were clearly very specific, and the scores have been drilled rigorously, deeply, shaping their lived experiences so that their presences balanced delicately between alert and comfortable, tense and soft, large and small.  I was reminded of the unearthed possibilities our faces, our bodies, hold within us and right on our surfaces.

Faye Driscoll’s Thank You For Coming: Attendance  continues in the Walker’s McGuire Theater Thursday-Saturday, February 18-20, 2016 at 8pm, and Sunday, February 21 at 7pm.

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