Dorfman, as teacher, father figure, taskmaster, ran among them or stood apart, cajoling and bullying them into submission. "Don't look at me, look at each other," he'd yell, in the most obnoxious, annoying, teacherly way. "Touch each other. I didn't say push, I said touch!"
This role-playing verbalizer is a surrogate of a "Papa" character who's made appearances before in Dorfman's work. In a long talking-dancing solo he played the child within the father, and the father who berates and laments his father, running and falling and rolling in rebellion and fond remembrance. Then he went right back to being the dancers' boss and lifeline.
Disavowal was supposed to have something to do with the abolitionist martyr John Brown, but I couldn't pluck that information out of the many other narratives and game structures and portrayals in the piece.
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This not only demonstrates the passion of political activists, but hope for future generations.
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The winter dance season starts out promoting international coexistence.
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The hour's worth of film and dance that followed my absurdist journey offered flashbacks, edges, mysterious messages, and a thunderstorm. In 1924, Tristan Tzara described Dada as a resistance to the pretensions of art, "a snow of butterflies released from the head of a prestidigitator." I left Inman Square feeling energized.
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The 10 dance fragments looked like a close-knit family with a couple of fractious siblings.
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Midnight Cowboy , that Oscar-winning classic of subterranean New York City, gets the homage it deserves with the wry, amusing Delirious.
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One thing that impressed me was that dance invention seems to be making a comeback as a major challenge for young choreographers after years of being stirred into the multimedia stew.
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Dance
, Education, Higher Education, Colleges and Universities, More
, Education, Higher Education, Colleges and Universities, Marjorie Morgan, Brian Crabtree, Salem State College, Salem State College, David Dorfman, David Dorfman, John Brown, Less
