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Review 1, 10-8: Wats Happening Now
Gibney Brings Time and Humanity Together
By Douglas Frank
Copyright 2002 Douglas Frank
NEW YORK -- On Saturday
evening at 7:57 p.m. Eastern time, the New York Yankees' season
ended when the Anaheim Angels won their first post-season series
ever -- after nearly two decades of trying. On Saturday evening
around 8:30 p.m., Gina Gibney Dance blazed open Danspace Project's
season with the premiere of a powerful work, "Time Remaining," at
St. Mark's Church. In a warm and passionate performance, something
like one thousand years of time flashed by in about one hour. Something
like sparks of fireflies at night. Something like the lives of human
beings.
Around a thousand years
ago in Southeast Asia, people labored for many years to build great
temples that have been left to ruin. Trees now thrust through cracks
in the huge stones hewn by human hands and mingle with entangled
vines. According to Ms. Gibney, seeing this connection between present
and ancient time inspired "Time Remaining."
What happens over time
to all things material is central to the striking imagery and ethereal
music of "Time Remaining." Deployed were the combined forces of
Ms. Gibney's all-female dance company, with new music by Kitty Brazelton,
performed LIVE (three cheers!) by an all-male vocal ensemble, cello,
a few plucked strings, and an array of percussive elements. The
live music was further entwined with prerecorded material to create
a thematically consistent intermingling of past and present sound.
The dancers interacted with a 200-piece modular "wall" comprised
of gray obelisk-size and smaller pieces, making the structure appear
to breathe with life and seethe with decay. Kathy Kaufmann's outstanding
lighting and Naoko Nagata's costume design complimented a remarkably
cohesive and thought provoking inter-arts creation.
The people who built
those ancient temples, those "wats," in places like Angkor in Cambodia
around a thousand years ago were Buddhists. Buddhism ultimately
views existence as a state of suffering and dissatisfaction; we
wander from one birth to the next searching for an elusive happiness.
The roots of unwholesome Karma, of course, are greed, hatred and
delusion, and their opposites are selflessness, kindness and wisdom.
"Time Remaining" explores the roots of our human actions and our
urgent need for human connection and kindness. It resonantly evokes
through imagery and music how humanity is sustained.
As Eden Mazer entered
in darkness, the sound of her breath -- timelessly human -- was
joined by a soulful cello line with soft light revealing a lovely
opening solo. The glowing white apple of the Macintosh PowerBook
running the digital files of prerecorded sound added to the juxtaposition
of the age we live in with depictions of days of futures past.
Pairing off, the dancers
explored the bonds between them or the lack thereof. Angharad Davies
and Mazer were particularly effective in their duets, dancing with
the kind of technical skill that becomes recessive to the humanity
and spirituality they communicate through their movement together
and apart.
At times dancers cradled
others as mothers do daughters. At times they carried others on
their backs, as do daughters who eventually take on the burden of
caring for their mothers. Sections of text from Ecclesiastes ("a
time to embrace, a time to refrain from embracing") were performed
"a cappella" without instruments and were seamlessly connected with
sections of extended vocal technique and accompanied chant. These
sections were akin to the haunting music by Gyorgy Ligeti in Stanley
Kubrick's "2001: A Space Odyssey" -- also about time, and how little
we human beings are in relation to the cosmos, and how big we can
be for each other.
The wonderful lighting
design by Ms. Kaufmann and set by Srdjan Jovanovic and Sabine von
Fisher of the Normal Group for Architecture, combined with occasional
stage smoke, created a richly textured visual environment. The costumes
designed by Ms. Nagata were fashioned from sparkling chiffon and
other fabrics crafted in traditionally feminine styles, each one
unique.
Considering that humanity
cannot sustain itself without men and women coming together, a moving
moment actually occurred at curtain call. The collaborators of both
genders came together to form a line of 19 human beings who had
connected with each other and with the audience.
"Time Remaining" reminds
us that days are precious. It asks us to remember, for a moment,
that one day our gift of days will be taken from us. And that's
okay. Because all of our days are bonus days. Each one a miracle.
As Henry David Thoreau wrote: "Even the death of friends will inspire
us as much as their lives.... Their memories will be encrusted over
with sublime and pleasing thoughts, as their monuments are overgrown
with moss."
"Time Remaining," was
choreographed and directed by Gina Gibney in collaboration with
Angharad Davies, Kristen Johansen, Jessica Loof, Mariangela Lopez,
Eden Mazer, Bethany Prater, and Molly Watson. Music composition
and direction was by Kitty Brazelton, performed live by David Bryan,
countertenor, John Brauer, tenor, Keith Borden, baritone, Mark Lin,
bass, Matthew Goeke, cello, Alex Vittum, percussion. Text was taken
from Ecclesiastes with additional text by Gina Gibney and Kitty
Brazelton.
"Time Remaining" repeats
tonight and Thursday through Sunday at 8:30 p.m. at Danspace Project
at St. Mark's Church in New York. For more information, please visit
the Danspace Project web
site. Additional performances are scheduled for Nov 15
to 17 at the Cleveland Public Theater. For more information, please
visit Gina Gibney Dance's web
site.
Douglas Frank is the Artistic and Executive Director of The Douglas
Frank Chorale. For more information, please click
here.
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