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Flash Review, 8-7: Heroic
Banality
White Oak Polishes up Judson for Another Spin
By Susan Yung
Copyright 2000 Susan Yung
PRINCETON, N.J. -- The
White Oak Dance Project, under the guidance of Mikhail Baryshnikov,
is re-staging selected works from the Judson Church movement and
commissioning new ones by some of the original choreographers. The
second program of Past Forward, bowing at McCarter Theatre Saturday
before a national tour and lit by Jennifer Tipton, contained some
prime examples of the scruffy, reductive quality of Judson. It began,
as we entered the theater, with Simone Forti's "Scramble" (1970),
in which a group of dancers -- White Oak members plus a selection
of local people -- traced loops around the stage, folding themselves
together like dough being mixed. It had no discernable middle or
end but was more like, as the artist describes it, "a steady state
activity," implying a long half-life. Next, in an odd-bird segment
credited to David Gordon, Jim Lewis, and David Forni, Baryshnikov
narrated an illustrated history of the project and his involvement
in it, including funny thinking-man shots of himself pondering the
subject matter, but also valuable historical footage of the movement's
inception.
Steve Paxton's "Flat"
(1964) seems to be developing into an icon of the movement (I saw
it not long ago at Dancespace Project at St. Marks Church, performed
by Paxton). The suit-garbed Baryshnikov alternately and frenetically
paced in circles and disrobed bit by bit, hanging his garments on
hooks adhered to his chest and back. This study of the dissolution
of the line between art and daily life feels remote and scanty on
a proscenium stage; proximity seems important to the everyman aspect
of the character, which is also at odds with the luster of Baryshnikov,
despite the fact that he certainly dresses, walks in circles and
undresses every day. There is also a sense of urgency to this rendition
which battles with the heroic banality of the dance.
"Homemade" (1965) by
Trisha Brown, a solo performed by Baryshnikov while wearing a machine
that projects recorded footage of him performing the piece, touches
on replication (the medium of film; the simultaneous repetition
of the dance), the possibility of synchronization of the dance sequences,
and biography. This piece, in contrast to the Paxton solo, fits
more easily in a big space (it was recently performed at BAM in
the capacious Gilman Opera House), as the projected image enlarges
the character while it pertains to matters about the medium. It
is a seminal work that still feels pertinent, though for the sake
of his back's health maybe they could rig up a smaller Misha-cam.
David Gordon contributed
two dances which constituted the meat of Saturday's program, demonstrating
how relevant the Judson movement can still be when combined with
a deft ironic touch and a little humor. "Overture to 'The Matter'
" (1979), performed to Leon Minkus's score from the famed "Kingdom
of the Shades" scene of "La Bayadere," had Baryshnikov carrying
props onto the stage and making a composition of them, while Michael
Lomeka alternately pushed a broom upstage, or pretended to push
a broom (this segment is credited to Ain Gordon.) Meanwhile, instead
of arabesquing ballerinas, we got ordinary people walking across
the stage in an endless stream as their faces were projected behind
them. The piece as a whole evoked the work of Robert Rauschenberg,
who at his best has combined all generae of junk and media in remarkably
structured compositions.
"For the love of rehearsal"
(2000), also by Gordon, ended the evening and was just reward for
sitting through a fairly unphysical -- but intellectually provocative
-- program. Danced to Bach solo cello suites (which felt like biting
into some exotic ripe fruit after a sparsely scored evening), the
work's premise allowed the dancers to break character to discard
a piece of clothing or toy with the steps. By incorporating pedestrian
(non-dance) moves and blurring the limits of on- and off-stage,
Gordon enfolded some of the tenets of the movement while choreographing
a wonderful, physical, technically demanding dance to music, showing
that pleasure needn't be completely sacrificed to principle. The
highlight -- drumroll, please -- was a solo by Baryshnikov, who
seemed to savor every elegant phrase, obviously enjoying Gordon's
mix of classical vocabulary with less codified movement. How could
he, much less we, resist a perfectly paced triple attitude turn?
We couldn't; nor could he, and succumbed in complicity.
Yvonne Rainer contributed
"Trio A Pressured #3" from 1966. The first duet (Rosalynde LeBlanc
and Emmanuele Phuon) seemed to utilize adjacent timing, where the
dancers' steps coincided at times but were not precisely alike.
In the second part, Lomeka chased Raquel Aedo around the stage;
she performed her steps immune to his attention. The third section,
to "The Midnight Hour," was buoyant and marked with Rainer's signatures
-- a perpendicular bent knee and elbow, palms flat down, gaze forced
upward.
Deborah Hay's "Whizz"
was far drier but perhaps no more analytical, and seemed to be at
odds with a taped video quote of Hay saying her goal was to shock
the hell out of people. To a soundtrack called "Clockers" by Alvin
Lucier (marked by ticking and industrial sounds) the dancers' faces
were projected huge on the well-used screen and performed small
individual ticks and moves, then assembled to perform in unison.
Emily Coates broke off to perform on her own, goaded on by the others
to continue her silent celebratory dance. Four bowed, two kept dancing,
and I scratched my head.
Like a vintage auto concourse,
through a process of evolutionary selection -- original quality
of craft and materials, design, and TLC -- only the finest, best
representative, or lucky examples of a time period will survive
to be rebuilt, freshly painted and driven gingerly around the track
and admired by new, and old, generations of spectators. There may
be oddities that provoke head-scratching, but no doubt they sit
alongside some cars that remain as gorgeous, fast and desirable
today as they were when they were designed. We acknowledge those
prototypes of success, as Baryshnikov is recognizing the pioneers
of modern dance who broke the trail for what followed. Taking an
old car out for a spin, or remounting a seminal dance, can remind
us of how far we've come while evincing nostalgia for the good old
days and illustrating the roots of it all.
For our review of the
first program of Past Forward, see Flash Review
1, 8-4: Misha's Homily: Bored at the Church. For some examples
of Robert Rauschenberg's work, visit his
page at Mark Harden's Artchive.
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