New York manufacturer of fine dance apparel for women and girls. Click
here to see a sample of our products and a list of web sites for purchasing.
With Body Wrappers it's always performance
at its best.
back to Flash Reviews
Flash Review 3, 12-11: From the Gooey
to the Sublime
Mantero Reaches Olympian Heights in Improv Program
By Josephine Leask
Copyright 2001 Josephine Leask
NEW YORK -- A solo, duet and group
piece made up the Movement Research improvisation program of Friday night at University
Settlement, which was packed out by a very enthusiastic crowd, mainly an audience
of dancers. Those who appreciate improvised performance the most tend to be dancers
who have improvised themselves.
The highlight for me during this
varied night of the improvisation festival was the Portuguese dance artist Vera
Mantero. A quirky performer, Mantero presented a theatrical improvisation based
on Manet's famous portrait of the nude 'Olympia.' Rather than drawing on movement
itself, Mantero's improvisation took on a more tangible focus, that of text and
'the work of art.'
Mantero, naked apart from shoes and
a luscious red rose in her hair, reads extracts from Dubuffet's text while 'becoming'
Olympia herself. Dragging a couch behind her into the performance space, with
eyes glued to her book in studious concentration she reads haltingly. Already
the juxtaposition of a naked woman reading male, academic text challenges the
supremacy of male artist over his passive female object.
She arranges her set before positioning
herself in the famous Olympia pose - lying propped up on cushions, one hand resting
on her thigh staring out at the audience. On the couch Mantero is restless, falling
asleep one minute and fidgeting the next, bringing an active humanness to her
Olympia that we would never imagine from seeing the immobile iconic woman in Manet's
painting. Eventually she stands up and begins an awkward drunken dance, driven
by complex inner forces, as if she is having difficulty in digesting the academic
language of Dubuffet's art criticism. While her actions are perplexing and fractured,
they are a relief from the bland, gooey movement of so much improvised dance.
On returning to the couch, she turns her back defiantly on us, then finally falls
off the other side - the antithesis of Manet's composed female form.
Also on the program, Kirstie Simpson
and Chris Aiken start off slowly on the floor, tuning into each other's bodies,
melting into and grazing on each other. The pacing of this duet is slow, contemplative,
and with some astonishing clashes and explosions. What is interesting is that
after about 20 minutes their dance doesn't seem to be working, or going anywhere,
and the dancers are honest about this. Dance improvisation doesn't lie and it
certainly doesn't gel every time even when presented as a performance. There are
sticky moments when both dancers seem to want different things, and my main criticism
is that they prolong their agony and go on too long. Simpson, always the wise
one in improvisation seems to want to finish, but Aiken is out of synch in his
search to find a resolution. Hahn Rowe on the turntables provides innovative sound,
sensitive as always to the mood of the performers. His final mix, an indignant
voice which repeats "you are very rude" seems appropriate in this context of disharmony.
Finally, in "Bridge," a mass of bodies,
flamboyant lighting and live music by Beo Morales and Maxime de la Rochefoucauld
fill every corner of the tightly packed studio. This jam is the culmination of
two weeks workshopping by the group of dancers headed by Bill Young, who come
from the USA, Greece, Venezuela and Brazil. Some great sounds from the trumpet,
piano and electric guitar accompany the vital energy of this global group, but
as is the case with large group improvisations it looks more fun to dance than
back to Flash Reviews