Exclusive video footage from the world premiere of ETUDES FOR ITALY by MARTHA CLARKE at the 2011 American Dance Festival. The work is part of ADF's PAST/FORWARD concert, in Reynolds Theater through Wednesday, July 20.
Exclusive video footage from the world premiere of LANDSCAPES 2011 ADF by BULAREYAUNG PAGARLAVA at the 2011 American Dance Festival. The work is part of the ADF's PAST/FORWARD concert, in Reynolds Theater through Wednesday, July 20.
Exclusive video footage from the world premiere of LIMITED STATES by SHEN WEI DANCE ARTS at the 2011 American Dance Festival. The company performs at the Durham Performing Arts Center through Saturday, July 16.
Its name is LIMITED STATES. Rumors concerning a video component designed by the choreographer are now confirmed, and parents in the viewing audience may want to know the new work involves nudity.
But the big reveal—thus far—is that patrons who attended his company's two performances of a work called STILL MOVING in June at New York's Metropolitan Museum of Art may have gotten more than just a glimpse into the work that's headed our way. More on that in a moment.
For the most part, the information available at this point leaves us with an intriguing array of question marks. We've learned that a New York-based media design firm, FAKE LOVE, is credited with "video projection: effects and production." After digging a bit into Fake Love's track record, we found a group whose “experiential designs” have involved projecting arresting visuals onto a cloud of 500 balloons for a Microsoft rollout, CG-enhanced media support and commercials for fashion designers and high-line cosmetics, the History Channel and Google, as well as atmospheric animated and video backdrops for Girl Talk and Phantogram’s concert tours. Particularly given Fake Love's trippy clips reel, in this case the term "effects and production" leaves plenty of room open to interpretation.
LIMITED STATES is divided into three movements over 65 minutes. The first, “Dimensions,” is set to an intriguing soundscape including Rossini, NOAA weather reports, ethereal, ambient audio by Asher Thal-Nir and decidedly minimal percussion by Jarrod Fowler.
The second movement, “0-11,” honors the 11 years founding company member Sara Procopio has danced with Shen Wei since her first work with him (as an ADF student) in 2000’s NEAR THE TERRACE. Her solo is set to the controlled feedback of noise composer Daniel Burke’s group, Illusion of Safety.
Burke is also credited for the music in the final section, “Internal External #2,” which we've learned is based on a similarly-named piece that concluded Shen Wei Dance Arts’ evening-length performance, STILL MOVING, in the courtyard of the American Wing at the Metropolitan Museum of Art in June of this year.
The rest, we learn at DPAC next Thursday night.
When a film studio foregoes all previews of an upcoming release, that usually conveys a certain lack of faith in the finished product. This week, we'll find out what a similar circumstance means in choreographer EMANUEL GAT's case when his company performs during the American Dance Festival at the Durham Performing Arts Center.
The festival scheduled no photo shoot for Gat. There was no need for one, since the company wanted no press photography of any kind taken of his latest work, BRILLIANT CORNERS, which premiered two weeks ago in Vienna.
The company has made its own trailer for the work. For three minutes we watch a cascade of partial body shots while dancers are apparently warming up: socializing, stretching, sitting, doing neck rolls, walking, rehearsing moves, gazing up at the lights.
All of that is followed by 50 seconds of the full ensemble in what appears to be actual dancework. More accurately, it's 15 possibly connected clips of the group, ranging from less than one to 7 seconds, shot from various angles, while a single, ambient passage suggesting chamber music for long strings plays in the background. See for yourself:
It's a decent commercial. It establishes a certain ambience, even generating a sort of suspense, before providing a series of brisk—but fragmentary—glimpses of the ostensible performance itself. And all those camera angles are just there to let us know that more action's going on than any one vantage point could hope to capture.
The quick edits flit from place to place: look here—no, here! To see all the camera sees, we'd have to move as fast as Gat's dancers, or faster. Our point of view is as kinetic as the dance—if not more so...
Yes, the trailer is quite impressive. And with only it to go on, we'll just have to wait and see how it syncs up with the actual experience of the dancework when Emanuel Gat Dance presents BRILLIANT CORNERS, Thursday through Saturday nights, in DPAC.
Exclusive video footage from the world premiere of SERAPH, a collaboration between the dance company PILOBOLUS and the MIT Computer Science & Artificial Intelligence Lab, at the 2011 American Dance Festival. Pilobolus performs at the Durham Performing Arts Center through July 2.
Video footage from the world premiere of Rosie Herrera's DINING ALONE at the 2011 American Dance Festival. Herrera's company performs DINING ALONE and PITY PARTY through June 29 at Reynolds Theater.
New video preview of the dance company Evidence performing a section of Ronald K. Brown's new suite to Stevie Wonder, ON EARTH TOGETHER, at the 2011 American Dance Festival. The company appears with Dayton Contemporary Dance Company through June 25 at Durham Performing Arts Center.
Exclusive video preview of the Dayton Contemporary Dance Company performing a section of Donald McKayle's RAINBOW 'ROUND MY SHOULDER at the 2011 American Dance Festival. The company appears with Evidence through June 25 at Durham Performing Arts Center.
Exclusive video footage of TAO DANCE THEATER at the 2011 American Dance Festival. The company performs June 20-22 at Reynolds Theater at Duke University.
Produced and narrated by Byron Woods.