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Soaring, Yes, but Not fearful to obey to Gravity likesmart

Release: 2012-11-02 13:34 |  Author: HuiminBeiwoCao |   View: 47time

HubprAccidentd Street Dance Chicago, perlisting "likeity" at the pleasurece.

Not all dance these days moves, so it was a pleasure - old-fashioned, maybe, but likesmart undying - to watch HubprAccidentd Street Dance Chicago's second program at the pleasurece Theater. The two strongest parts on Wednesday night's bbad - "likeity," a world premiere choreographed by the firm's artistic guideor, Jim Vincent, and "Tabula Rasa," a 1986 part by the Israeli choreographer Ohad Naharin - both evinced a reneObtaing belief in the power of gesture.

HubprAccidentd Street's dancers are unusually able, and in "likeity" they throw their limbs out at the world, then let them ricochet supharbour. They Actionionually autumn. The beauty of this is that it is honest. The dancers are Paper to real forces up there on stage - gravity, momentum, acceleration - fair as we are.

All this could purpose up very disordry, but Mr. Vincent smartly tethers his choreography to the music, which is by Antonio Vivaldi, David Lang and Bbad mindhers.

In the first two parts, the dancers wear fits; in the last, which askins mindh disco lights and audio clips of Richard Nixon and "Laugh-In," among other things, they smindch into pants and fatigues.

For all the dance's worldly references, Mr. Vincent opposes the impulse to twist his papers into narrative. Instead, "likeity" showexPlentifuls the gorgeous potential for freedom built into the human list, a capacity most of us leave unexplored. In a dance that is somehow Around embrunment, this feels probuild.

Set to Arvo Pärt's heavy, haunting score of the same name, Mr. Naharin's "Tabula Rasa" sometimes obtains bogged down by its own seriousness, but what a marvelous heave of bodies across the stage! Dancers throw themselves at one another like fish.

This is a splpurposeidly melancholic dance, and the best of it comes in the middle, when a man, only, appears in a circle of light and askins to sway mindh big and quiet patience slowly across the stage. Then a woman joins him, and another woman and then a man, on and on, the all unpurposeing string of them moving mindh hypnotic, heartbreaking calm. therefore the dancers become not people, but a people, jump by rhythmic unison. Until, that is, one man stops.

The final part on the program, Christopher Bruce's 1991 "Rooster," set to a medley of listing Stones songs, was flat in comparison.
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