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Flash Review, 7-3: Grappling with
Grace
Pilobolus Meets the Klezmatics at the Joyce
By Alicia Mosier
Copyright 2001 Alicia Mosier
Pilobolus Dance Theatre's play with
rites and fables, explored through the body's possibilities, reached a new dimension
in the New York premiere of "Davenen" last night at the Joyce Theater. Set to
a keening, ecstatic score by Frank London (performed by the legendary Klezmatics),
and choreographed by Robby Barnett and Jonathan Wolken in collaboration with the
dancers, "Davenen" is an inquiry into the nature of prayer. (The piece was commissioned
by the National Foundation of Jewish Culture.) Like many a Pilobolus invention,
it began with inquiries among the dancers; the conversation expanded to include
discussions with rabbis, a study of Isaac Bashevis Singer's novel "Satan in Goray,"
and an exploration of the Kabbalah. In the midst of its 30th anniversary year,
and at the start of its month-long season at the Joyce, Pilobolus (a six-member
ensemble named after a fast-growing fungus) is still spreading its spores in adventurous
ground.
A program note quotes from the Baal
Shem Tov:
"When a man stands in prayer and
desires to join himself to eternity,
And the alien thoughts come and descend on him --
These are holy sparks that have sunken and wish to be raised
And redeemed by him;
And the sparks belong to him,
They are kindred to the roots of his soul;
It is his own powers he must redeem."
These lines provide the outline of
the dance, in which the dancers's own bodies become those alien thoughts that
batter people in prayer, as well as the vehicles for their assimilation and transformation.
The familiar elements of traditional prayer -- meditation, self-denial, thanksgiving,
contrition, and so on -- are shown here to be not so straightforward as they often
appear. The desire to join oneself to eternity doesn't mean a straight shot to
heaven. It means a lifetime of desiring, being tempted, being distracted and bored,
rejoicing, falling hard, and getting up again to stand in prayer once more.
That's what Otis Cook, Josie Coyoc,
Renee Jaworski, Matt Kent, Gaspard Louis, and Benjamin Pring do in "Davenen" (the
word means "prayer" in Yiddish). From a heaving knot of bodies, Pring looks up
and out into space. The dancers, in Angelina Avallone's simple Israeli-style costumes,
spiral out from center stage and back again. Cook falls out of the group and is
glued to the floor; by sheer force of will, he yanks himself up again and again,
then is lifted by the group. All six dancers bob their heads as at the Wailing
Wall; this movement shades into hip swivels for Pring and Jaworski, who curl through
each other's encircled arms. Pring does an extraordinary solo in a shadowed corner,
waggling his head and springing up from a crouch to leap on Cook's body -- is
he a spirit of grace or a demon? Cook wrestles him down and knots him up until
Pring is rolling back in knots of his own creation. Then Jaworksi attacks Pring,
poking him and sitting on him as he’s praying -- he bounces back, grinning ecstatically
-- and Coyoc (really a devil!) does the same to Louis, who tames her with powerful
arms and offers her to God. He flinches under a golden light, then shudders wildly
as if possessed, his body quivering in rage and rapture. Next Kent goes for Louis,
who grabs him by the skin of his stomach and makes him beat his own chest (or
start his heart beating like a human's again?). In a frenzy of mortification,
Kent, the most accomplished clown in Pilobolus's lineup, does a solo that looks
like a film run backwards in fast-motion. Under Neil Peter Jampolis's wondrous
lights, all of this seems a potent private struggle, each new encounter an image
of a different dark night of the soul.
But the darkness of "Davenen" never
overwhelms, thanks in part to the sweetness that comes up through the cracks of
London's wonderful (and wonderfully danceable) score. At the end, all the powers
have been redeemed; in twos and threes, the dancers spin with arms wide open and
run around each other in a braid of blessing. They all come together, opening
and closing their arms in a gesture of acceptance, covering their eyes with their
hands, then turning back to look up in a shaft of light. This image -- so simple,
so reverent -- concludes a powerful piece that's unafraid to be surprised by faith.
Last night's Program A also included
three works that have been covered in detail here in the past. In a review posted
last year (Flash Review 1, 6-17: Tantra Tarantula?), Byron Woods gave what to
my mind is the last word on "Tantra Aranea," a sweaty erotic tangle of spidery
tantric sex performed last night by Coyoc and Kent. (I was about as un-taken with
it as he was.) Jaworski gave "Femme Noire" a kooky glamour, whirling herself into
a funny deadpan frenzy in her big black hat. And "Tsu-Ku-Tsu" -- with its gorgeous
totems of dancers on top of dancers, its launching leaps, its arcs of arms and
legs moving like the hands of Taiko drummer Leonard Eto, who provided the score
-- is a tremendous example of the tests of strength, weight, and balance that
have become Pilobolus's trademark.
This program alternates with two
others (both including NYC premieres, as well as classics like "Day Two") through
July 28. Please visit the Joyce
website for more information.
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