to you by
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.
Go back to Flash Reviews
Review 2, 10-27: Wearing the Dance
Energized and Disabled by Johannes Wieland
By Beliz Demircioglu
Copyright 2004 Beliz Demircioglu
New! Sponsor a Flash!
NEW YORK -- At a breathtaking
pace, energy flew between body parts and space in "One," a new mixed
program from Johannes Wieland, seen October 7 at the Diane von Furstenberg
The opening piece, "Parietal
Region" (originally created for the Bessie Schonberg Choreographer
and Dancers Residency at the Yard in 2002) sharply divided the stage
into four different areas with Frederica Nascimento's multi-leveled
set design. A big two-level platform upstage left and a smaller
box downstage right created a strong diagonal line. Performers moved
in and between these sections, constantly changing rhythms by jumping
out of a fall or moving into an upside-down position from a collapse.
The program continued
with the New York premiere of "One," which was commissioned by Paradigm
and premiered at Jacob's Pillow this past July. This piece addressed
identity as it is revealed in interactions between the performers
-- for this performance, Wieland, Gus Solomons jr and Keith Sabado.
It involved three paths that intersect, unite, and separate, in
a constantly evolving relationship. In the powerful conclusion,
the three separated dancers repeated the same phrase, touching and
covering their heads, conveying a strong sense of self-realization.
The lighting, designed by Matthew E. Anderson and recreated by Mark
Barton, brought another dimension to the work, suffusing the stage
with a variety of shadows. Lit from the sides, the side walls were
constantly painted with different sizes of shadows.
Wieland concluded his
exploration of different paths into the psyche with the potent "Tomorrow."
The dance began on a dark stage. As the first light slowly illuminated
the inside of a fish tank, Eliza Littrell was revealed standing
behind it with her upper body hanging into the water in the tank.
In a few seconds the stage lit up a bit more and three tanks with
three people in them became visible. They pulled themselves out
of the water one by one with very sudden movements. Contrasting
with the movement, a calm melody by Strauss played as the dancers
begin to turn their heads rapidly and repeatedly, as in a random
algorithm. As Julian Barnett turned his head to look directly at
the audience for the first time, Wieland seemed to tear the line
between the audience and the dancers and fill the space with his
own world. The lights slowly rose and became warmer, more fully
revealing the light blue, nylon and wet costumes. The costumes,
with their wet nylon texture, created a sound layer as the performers
shot through the space. This sound became a bridge between the music
and the visuals as it carried the rhythm of the movement quality.
At a climactic point the music stopped. Barnett and Littrell moved
towards one of the tanks. Littrel forced Barnett's head into the
water, pulled it out and forced it back in again. They separated
and moved towards different tanks and as they dove into the water
with their upper bodies, the music began again. The lighting became
a colder and very precise white. The piece continued with a very
physical, staccato and harsh duet between these two while Brittany
Beyer-Schubert stood up with her head hanging to the front. As Barnett
stepped toward Beyer-Schubert and touched her, Littrel pushed him
and returned to the tank, forcefully diving back into it while the
others remained standing with their heads hanging. The strong imagery
at the end of the trio disabled me from doing anything in the moments
Wieland's athletic dancers
are so focused that his choreography is projected on every part
of their bodies and facial expressions. Their strength and ability
to constantly change levels with great ease is exhilarating.
Johannes Wieland performs
Saturday at the Berkshires Theater Festival in Stockbridge, Massachussetts.
Originally from Turkey, Beliz Demircioglu has danced for Nacho
Duato, Nicolo Fonte, Linda Tarnay, James Sutton, Candas Bas, Berrak
Yedek, and Djamel Fellouche, among many others. She has also showcased
her own choreography in New York and outside the US. Currently she
choreographs and works in the area of video tracking, motion capture
and their applications in performance art. Demircioglu is pursuing
a Master's degree from the Interactive Telecommunications Program
at the Tisch School of the Arts. More information on her work can
be found at http://stage.itp.nyu.edu/~bd319.
Go back to Flash Reviews