Eye Candy
’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
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Some choreographers integrate visuals, text and moods seemingly effortlessly. Colette Sadler is one such artist, as she has long created singular work which straddles performance art, visual art and dance. So it is with her gorgeous and meditative riposte to Daphne's punishment from Apollo, “Oracle Leaves.” In the original myth, while attempting to escape Apollo's brutal advances, Daphne is transformed into a tree. This piece pushes back, embracing an alternative vision, with a rebellious spirit at its core. It is a long, langorous stretch of limbs, a slow-burning beauty. Once you become attuned to its sparse setting, slow pace and short, angular bursts of movement, it is a performance of subtlety and invention, at once post-modern and traditional, using a unique methodology to steer the narrative into unknown places. There's even a reference to Artificial Intelligence within the script.
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“Oracle Leaves” by Colette Sadler. Image courtesy of Colette Sadler
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’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLELike two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continue Reading“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
Continue ReadingBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
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