True :
As clearly the top-billed
dancer up there, Lalah Hazelwood perhaps drew people who came to see her in
something. (Ming)
For
example, the opening was joyous: happy bodies frolicking across and around the
stage in what appeared to be an updated quadrille. (Jennifer)
Both
dancers wore plain white sports underwear, and the only prop was a queen size
mattress. (Derek)
Meaningful:
These
are the questions that I was having throughout the concert: Is there a
narrative? Why are the girls in dresses and the boys in pants? Why is that one
girl in pants? Why are the pairings only boy/girl (Kelly)
I
preferred this piece because of the (in)tense relationship between the
narrative and the dance itself. Looking past the slightly over-the-top
costuming (glittery white, calf-length dresses) and props (red rose petals),
this piece laid out a narrative more effectively than the others. (Whitney)
In
the non-narrative dances, I noticed myself responding more physically to the
performance. Through most of Esplanade and Nascimento, my enjoyment came from
the physicality of the dancers as they moved and the joy that they seemed to
have in their own movement. (Andrea)
While
none of the latter definitively demarcates these performaces as finite,
comprehensible narratives, each dance possessed markers of narrativity, of
diegetic progression, of conflict(s), etc. that pulled me into this game of
narrative interpretation. This sort of reaction, I feel, prevented me
from experiencing the kinesthetic empathy that Reason/Reynolds explored in
their essay. (Cody)
Likewise,
moments of differentiated movements called body ownership into question, as
they were typified by the sharing of weight and absolute trust in another’s
physical strength. (Justin)
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