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Flash Review 1, 10-9:
This is a Test of the Audience Response System
Lara and Nelson Try the Risk Reflex
By Susan Yung
Copyright 2000 Susan Yung
The first ten minutes
of Luis Lara's "Pain-stake," seen Saturday at Danspace Project at
St. Mark's Church, were a test. The manner in which each viewer
processed the three naked dancers dictated how the rest of the program
was received. In so doing, Lara (and to an extent, Jeremy Nelson,
whose piece followed the intermission) took the first and biggest
of many ensuing risks throughout the evening, some of which paid
off.
In that first scene,
in low lighting, two men lay on benches with their shins to the
audience; a woman was folded up on the floor. The men flopped their
legs open, feeling the bench with their feet; the three lay on their
benches with their heads on the floor, checking us out. Their shapes
dissolved into abstractions, but we were sent continual and overt
reminders of their identities by their blatant physical confrontation.
They donned costumes for the remainder of the piece: aprons, or
patent leather contraptions, and shorts, the men's with sheer rear
panels. But by then, they'd made themselves completely vulnerable
to us physically. It was our choice to be fascinated or repulsed.
Lara's language includes
a certain cause-and-reaction element, where the impetus for a movement
is often the direct result of another dancer's action. In other
sections, the dancers don't dance as much as shuffle about, or move
their benches and strike poses supported by, or supporting, them.
And yet other sections had the dancers moving through Lara's more
lyrical vocabulary: jutting arms; in a parallel fourth position;
bent at the waist; upper body torquing about this base, and as a
pendulum, using its momentum to bring the whole body swiftly into
releve.
The sound -- industrial
noise, grinding, all of it anti-music, by Douglas Henderson -- prevented
the development of any pre-conceived context on which to build a
reading of the dance. Lara seized upon this to basically construct
his own airtight world into which we were thrust. Add the sets by
Lara -- cardboard flats painted with glyphs -- which did not send
a legible message, but I suppose further refined the artist's personal
statement. Trust is clearly important to Lara. At moments, some
of his dancer/bench constructs would have collapsed to the earth
without it. And he respected the audience enough to trust us to
experience his inventive language.
For "Flats," Nelson's
piece, the set elements were flipped around to reveal geometric
shapes. Danced by a trio, Nelson's aggressive style had softened
edges, but was extremely physical. The dancers lunged deeply; twisted;
speared their legs; dropped to the floor through fourth position
grands plies; performed tours in fourth plie; anything but walked
plainly. Movement for Nelson is frequently initiated by a circling
of the pelvis or head, and embellished with a flung limb.
The soundtrack of bagpipe
music and noise, by David Watson, set forth a clear rhythm occasionally,
but Nelson's choreography had its own internal logic that provided
the dancers with a palpable pulse. The tone of "Flats" was faintly
militaristic, heightened by the patent leather survival vests, and
the raking lighting. It was appropriate to Nelson's potent, mesmerizing,
explosive style.
"Pain-stake" was danced
by Levi Gonzalez, (Luis Lara) Malvacias, Melanie Maar, Jeremy Nelson,
Judith Sanchez Ruiz, and Josh Zimmermann. "Flats" by Luciana Achugar,
Jeremy Nelson, and Levi Gonzalez. Lighting was by Kathy Kaufmann;
set/installation/costume design by (Luis Lara) Malvacias, constructed
by Hector Rodriguez.
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