A Choreographer's 2 Sides, Cut From the Same Cloth
To celebrate her company's 25 years, the choreographer Susan
Marshall has taken over two spaces at the Baryshnikov Arts Center to
show, essentially, two sides of her artistic self. But on Thursday
evening, watching Frame Dances,a gallery-friendly piece performed
at the Howard Gilman Performance Space, back-to-back with Adamantine,a proscenium work for the Jerome Robbins Theater, was to
see remnants of the same fabric. The material is respectable and
deliberate, yet it's stretched a little thin.
In Frame Dances, an installation featuring several sections of
movement, as well as recorded and live video, the performance areas are
precisely rendered. There is some seating, but audience members are
urged to wander among the small stages that make up this choreographic
canvas: a sandbox, a patch of artificial grass and a tall, narrow,
transparent stall.
The piece begins with a video from Ms. Marshall's Cloudless
(2006): five dancers, in close quarters, mash into one another like too
many people on a raft. More of the same follows in ¡°Sandstone,¡± which
comes to life onstage and on screen with the dancers Kristen
Hollinsworth and Joseph Poulson, digging in the sand like feral cats.
Dancers shimmy and yank one another across a tiny meadow over
which a wooden table frame is placed in Green, Green Grass,Produces
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conveyor belt. (It's a daydream.) In reality, the scene is chaotic:
after each trip through the grass, the dancers change outfits, showing
that as pristine as an artist's canvas can be, the studio is another
matter.
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with the heart. in Body of Water, another video, float in a milky
liquid their limbs emerge and submerge, but instead of appearing to
be disembodied ghosts, they look as if they were posing in a Calvin
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rising and falling until he drifts to the top.
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