Agora de la danse
October 6–9, 2010
Reviewed by Philip Szporer
Stamos' torso, Pinto's legs in Cloak. Photo by Julieta Cervantes, courtesy Agora de la danse.
George Stamos infuses Cloak with a smooth interdisciplinarity, working video, sound, music, movement, and voice into the mix. The theme of transformation permeates, inviting questions about hybridity and the fracturing of the self. It’s a stacked proposition that succeeds in fits and starts.
Earlier this year, the Montreal-based dancer/choreographer showed a preliminary version of the work at Baryshnikov Arts Center. Over time, the piece has evolved from a solo to a trio and now a well-suited duet, in which Stamos pairs beautifully with dancer extraordinaire Luciane Pinto.
The darkly lit Cloak opens with Stamos reading a scripted text, a kind of reflective inner monologue made public (he would have benefited from nuanced line readings). It then segues into a random, amusing conversation between Pinto (who has been munching carrots) and Stamos, his voice altered through a processor, allowing him to “morph” into different characters. Next, the duo flows through an interesting sequence of repeated, floor-based rolls with a clearly articulated, gentle, and pleasurable rhythmic quality, set to the live, recorded, and manipulated sounds of a sigh or a whack of the mic.
By turns whimsical and edgy, Stamos smartly addresses anonymity and the identity card in an episode where he dons about four layers of white head stockings. Using a simple marker, Pinto scribbles eye and smiley-mouth lines on the material. As the first mask is cast aside, another blank slate is revealed. Ultimately each layer is removed.
In an inventive use of video (by Dayna McLeod), either Pinto or Stamos stands behind a suspended screen, with only their legs showing—on one occasion, Pinto doing some pretty fierce ballet legwork. Each merges with projections of the other’s upper body, or at one point a metallic alien-appearing creature.
The problem with Cloak is its sketchiness. Ideas become diluted as the piece ensues. A section with the performers costumed in distorted black ninja bunny costumes comes and goes; the videos themselves lose their punch through repetition (a technical glitch the night I saw the performance is noted but didn’t alter my perspective); and Tomas Furey’s original electroacoustic score is a lulling wash of sound.
Stamos exploits a multi-tracked and fragmented structure, but his strongest material loses impact. He never fully flavors other sections, and, at least for now, masks his ambitions.
What do Percy Jackson, Princess Diana and Tina Turner have in common? They're all characters on Broadway this season. Throw in Michelle Dorrance's choreographic debut, Henry VIII's six diva-licious wives and the 1990s angst of Alanis Morissette, and the 2019–20 season is shaping up to be an exciting mix of past-meets-pop-culture-present.
Here's a look at the musicals hitting Broadway in the coming months. We're biding our time until opening night!
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
Ah, stretching. It seems so simple, and is yet so complicated.
For example: You don't want to overstretch, but you're not going to see results if you don't stretch enough. You want to focus on areas where you're tight, but you also can't neglect other areas or else you'll be imbalanced. You were taught to hold static stretches growing up, but now everyone is telling you never to hold a stretch longer than a few seconds?
Considering how important stretching correctly is for dancers, it's easy to get confused or overwhelmed. So we came up with 10 common stretching scenarios, and gave you the expert low-down.