Wednesday, November 7, 2012

19.2 (Courtney)


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)

No comments: