![]() ![]() To list the music would take an entire paragraph (both music and dance could have been edited down slightly), but it’s an interesting mix, and includes a piece by Philip Glass, without whom it seems currently that no contemporary dance concert would be complete. The clever costumes (Branimira Ivanova) in black, gray and white gleam under cold smoky lighting by Michael Korsch. The evening’s central piece is the big and showy Little Mortal Jump, by Alejandro Cerrudo (2012), featuring ten dancers and a several very large moveable gray boxes, which turn out to be a lot more active and meaningful than one might guess. In actuality, by the time the music stopped, I was feeling pretty blissed out. We pass through these things as the music-induced trance deepens, and about the time the machine projects an image of breaking clouds, we get through to better. We pass through regret, longing, anger, all expressed in exquisite port-de-bras, snapping pirouettes, ferocious battements and lunges and lifts that invert suddenly like a turned hourglass. The dance is also made with a spiraling force, and utilizes many moves that create a spiral form, as well as spiraling turns across the stage (it is fantastic to see ballet’s mechanics serving undecorated passion). The music starts as whispered words, and spirals up in volume and lushness before subsiding again. Composer Gavin Bryars made Jesus’ Blood Never Failed Me Yet from a looped recording of a homeless man singing that one line, and built orchestrations on top. Its presence is disturbing-it is heavy, unmoving, in the way-but I soon began to think of it as a time machine, or Memory: unwieldy, unceasing in its efflorescence of recall.Īll of Quintett’s combinations and re-combinations of characters, all the fast-shifting vignettes, seem to occur in the past, along an endless loop of chanted words. The machine generates a beam of harsh light, and later projects an image. Three men and two women (in wonderfully-colored costumes by Stephen Galloway) share the stage with two stationary objects: a hulking piece of lighting equipment, and a parabolic mirror reflecting the dark stage with it markings so that a road back into infinity appears in the mirror. Quintett was originally created for Ballett Frankurt, and all the beautiful forms of classical ballet appear in it-but torqued and supercharged with raw passion and contemporary sensibility. Hubbard Street is the first American company to perform the work they debuted it in Chicago only a month ago, and the performance here exhibits the freshness of a work newly in repertory. July 1.įorsythe’s 1993 dance Quintett opens the Hubbard Street program. He will participate in a panel discussion (free) in White Lecture Hall on Duke’s East Campus at 4 p.m. Forsythe, who has spent most of his career in Europe and whose work is not widely performed in the US, will receive the 2012 Scripps/ADF Award for Lifetime Achievement and its $50,000 prize prior to the performance. Replete with surprising images, balletic grace and precision, the program repeats Saturday, June 30, as the American Dance Festival closes its second full week. Hubbard Street Dance Chicago started their three-work concert at the Durham Performing Arts Center June 29 with a demanding, emotional, William Forsythe dance. His films were good but to make some point based upon parts of his films does not work because all you are doing is suffering from the delusion that everything Kubrick is good and quotable.Hubbard Street Dance Chicago excels at powerlifting. Then later Tom Cruise and Spielberg latched on to him and he was done. Clockwork Orange also worked because Both films came before film educated the average person and they could see stories being told that Kubrick was telling first. Full metal jacket suffered from too much stage set shooting. It was not scary and did not deliver as far as a horror film went. "The Shining" deviated so much from the original story just to satisfy the stars of the film (Jack Nickolson) It fell flat on it's face. But not one of his films but a collage of them. ![]() From out of nowhere we are discussing Kubrick. ![]()
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