Kyle
Abraham/Abraham.In.Motion
Matthew Baker and Connie Shiau in Dearest Home Photo courtesy of Time Barden |
Dearest Home
Yerba Buena Center for
the Arts Forum, San Francisco
May 16th,
2017
Building a new work
requires a choreographer to wear so many different hats. Securing funding, crafting
movement, rehearsing, championing the interdisciplinary collaborations, even booking,
publicity and photography might be part of the picture. And then there is a
whole other entity to consider, the audience. Is the dance going to have a
traditional viewer/artist relationship or does the work speak to a unique kind
of audience engagement? Maybe one where the viewer has a more participatory
role in the artistic process.
Kyle Abraham’s Dearest Home, which saw its premiere
last night at the Yerba Buena Center for the Arts Forum, took an innovative and
bold approach to audience engagement. As the crowd entered the space, every
person was given their own headset, and in the introductory remarks, Abraham
shared that the dance was designed to be experienced either in silence or with
Jerome Begin’s original score streamed through the headphones. The choice was
ours. I chose the latter.
The audience was
arranged around the perimeter of the stage space with four entrances at each
corner. To open the work, Abraham.In.Motion’s company artists entered from
these various corners, each with a different dynamic. Slow and methodical met
with nonchalant pedestrianism; stylized precision with abandoned frenzy. But no
matter the intention, the clarity of the movement was overwhelmingly
satisfying, be it a glance, a sustained relevé long in second position or a
twisted sculptural pose.
Over the next hour, an
array of storylines were layered together in the space, told through solos,
duets and trios. Many, though not all, of these distinct narratives unfolded on
the diagonal (especially in the first half of Dearest Home), sending a powerful message. A straight pathway on
which complex ideas would develop; the juxtaposition and collision of the two
was striking.
Duets would morph in and
out of unison suggesting a shared understanding that was constantly fracturing
and healing, over and over again. One solo, featuring a lush super passé, felt
caught in old patterns; attempting to move forward but still stuck in what was.
Tender embraces spoke of comfort, though they too sometimes shifted to the
other extreme, revealing trembling and fear. Another solo, lit by shin busters,
seemed tortured and pulled in two disparate directions – panicked staccato
movements falling into sustained living postures. And a lengthy duet for two
women was packed with motifs that conjured images of swimming, including a
moment where the two looked like they were shaking water off their limbs.
Perhaps a metaphor for shaking off a particular situation, or the past in
general.
Clothing served as an
important throughline in Dearest Home,
with the ensemble buttoning and unbuttoning, tucking and untucking shirts and
carefully folding clothes that they had taken off. Fixing and organizing, as
well as saying farewell to their outer shell, sang through these various
gestures and tasks.
Another throughline in Dearest Home was that it felt
through-danced. While there were clearly different stories at play, different
sections and different lines of thought, the continual flow of the work meant
that there was not even an inkling of the stops and starts that could have crept
in. Speaking of the dancing, the movement quality in Abraham’s choreography was
something to behold as was the dance artists’ profound communication of the
phrase material. Such wonderful attention to the specificity of the foot,
whether in passé, in coupé, or just in transition from one step to another. And
I was also struck by their phenomenal sense of timing. For me, listening
through the headphones, the score and the movement were so connected; it was
easy to forget that the cast wasn’t hearing a thing.
At sixty-five minutes, Dearest Home, did seem too long. Though,
the fact that opening night got off to a very delayed start (between twenty and
twenty-five minutes late) may have been a contributing factor to that feeling.
No comments:
Post a Comment