Archive for September 5th, 2010

Takes. Everything new is old again, unless it’s newer. In Takes, dancer/choreographer Nichole Canuso uses a Sol LeWitt-style cube, as have others recently. LeWitt, the late conceptual artist, still fascinates the dance world, having started the trend of image overlay 31 years ago in Lucinda Childs’ Dance, which anchors the festival next weekend.

Canuso squares her filmy cube with media artist Lars Jan’s installation (in which, during the day, you can make your own performance by reservation). Jan’s technical and artistic wizardry perfectly follows an indeterminacy principle mirroring Canuso’s deliberately indeterminate choreography. His live projections transfer Canuso and actor/dancer Dito van Reigersberg into quadruple takes on the enclosure’s “walls.” Wherever you are sitting (or walking – it encourages), Van Reigersberg’s image might loom vertically, like a cinematic Rorschach, from one corner while Canuso’s odalisque-like body floats around the sides.


Flying monks, undersea oddity, more


By Merilyn Jackson

For The Inquirer

You are sitting in silence as a black-and-white freeze-frame of phantom dancers appears on a scrim across the front of the stage, the opening shot of a film by artist Sol LeWitt. Then, like a startling squall, Philip Glass’ pulsing music jolts you into vigilance and live dancers leap from the wings, turning, tilting their upper bodies sideways, arms outstretched.

The burst of flutes, voice, keyboard, and piccolo gathers turbulently as the dancers bubble across the stage in overlapping torrents – eight, but there seem to be twice as many exiting and entering, over and over, on a grid on the stage floor. The images on the scrim reanimate, oscillating, expanding the effect of a host of dancers.

You are engulfed in Dance , choreographer Lucinda Childs’ germinal 1979 work, a highlight of this year’s Live Arts Festival/Philly Fringe.

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