An artist stands alone before the blank page.
A choreographer stands alone on a blank stage.
Any mark is possible. The infinitude of choice paralyzes. But the force of creative will touches the brush to paper, declares an arc through space with an arm–and choice disappears, paralysis gives way to the requirements of the images and actions pressing their way into the world through the body of the maker. The calculating, crafting artist becomes the tool of the art.
And so it is in the penultimate show of the 2014 American Dance Festival season. Four very different choreographers whose work we are more used to seeing on other dancers, perform personal acts of soul-baring, painting the stage space with their ephemeral kinetic inks, in a quartet of meditations on time, death and transitions. This special concert will repeat 7/23 in the DPAC.
Shen Wei, the slim body of his youth given way to the thicker forms of middle-age, legs and torso draped in sheer white jersey and feet encased in white socks, danced his 2014 Variations alone on white marley to the gently solemn sounds of Arvo Part’s Variations for the Healing of Arinushka. He is no less graceful than the youth who so amazed us all as a young ADF student, but far more powerful now in his sinuous elegance that never fails to make me think of swifts and swallows soaring and swiveling through the sky. Shen Wei is such a man of the world that it feels extremely complimentary to have him consider Durham his summer home. The other night I was watering my garden and who should walk by, coming no doubt from rehearsal at the DPAC. It seemed so normal to see Shen Wei in my parking lot that I just waved and said hi. Turning his head in that impossible bird-like way, his arm rose seemingly of its own volition to complete the line of nose/shoulder/hand, and he smiled before disappearing down the alley. I got my own tiny personal solo dance, to treasure in my mental file of Shen Wei images, but the one he does on stage is not a fragment torn from time. It has a completeness that is enormously satisfying, even while one remembers this twist, that arm’s curve, those cloaked feet in stringent fifth position.
Three ADF-commissioned world premieres follow, the first and most emotional by Doug Varone. He dances his work The Fabulist to David Lang’s exquisite Death Speaks (uncredited, but probably Shara Worden singing) in cones of smoky light cutting the dark. Varone is, I believe, a great humanist. Something, probably honesty, makes his movement powerfully touching–you feel like he is telling you secrets in the dark. He’s got a bullet head and is built like a tank but moves like a…man. The bottom several inches of his pant legs are sheer, and through them you see his strong slim ankles, while most of his body is covered. I was brought to tears by this sight and pretty much all of the dance. If Varone has ever interested you, do not miss this solo.
A less satisfying piece by Stephen Petronio comes next. Big Daddy is about Petronio’s father, and yes, there is talking. Petronio wears a suit and a headset–and speaks from a podium microphone as well. He wears too many clothes and does not dance enough. At first I feared the piece would be as dreadfully self-centered as Loudon Wainwright III’s one-man show about his father, but actually, Petronio’s writing was beautiful. I was just disappointed not to see him really open up with those huge shapes he can make.
The evening closes with the luminous Ron K. Brown, in his new work Through Time and Culture. Brown, who is brown, was dressed in pristine white pants and knee-length tunic, which set a meditative tone and set off his beautiful beaming face and expressive hands and feet. I never have perceived ideas in Brown’s work so much as feelings, and feelings pour forth with abundance here. Reverence is the greatest among them, and gratitude.
Each artist received much applause–Shen Wei being treated like home folks–and at the final bow, all received a long standing ovation, which appeared to surprise them all very much. Surprise them again tonight. ADF has been promoting the show with $15 tickets. Use promo code ADFLEGENDS.
Dedicated to the dancing memory of my aunt, Mary Carolyn Dobbs, who left her body July 23, 2014.
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