c.c. reader Review of Denceteller "We must remember that Art is an expression and an instrument of Human Personality Art goes beyond the making of pictures and statues, symphonies and dances; it goes beyond the classes in which these crafts are taught. Art is the quality that makes the difference between merely witnessing or performing things and being touched by them shaken by them changed by the Forces that are inherent in everything we give Or receive --John Dewey I went to Danceteller's concert expecting to exper ience an evening of the Art of modern dance. I left having witnessed well-trained bodies performing their craft. Throughout the one hour and forty-five minutes that I required myself to remain at the concert--realizing that I was untouched, unshaken, unchanged-I found myself being tormented by a single question: Why? I had come to the .concert expecting to enjoy. Before me were performers whose bod ies repeatedly reassured me they were capable of expres sing the art in which they had been trained: the well-devel oped, clearly defined leg and neck muscles of Trina Collins, her powerful feet and toes which launched her into the air and then, spread, allowed her to make gentle contact with the floor during her feature performance in DOLLS; the effortless, ballet ic lifts the male dancers exe cuted in Allegro; the preci sion, single-body way in which the company raised itself, one at-a-time, from kneeling to standing in MARY. Why was I not experiencing it? Where was the Art? I found myself listening to the music of Britten and Vi valdi and being irritated by the visual distraction on the stage. During sections of COUNTRY DANCES, I found myself trying to determine whether the female dancers were supposed to be doing the same movements or if each had her own particular com bination to execute. If the first were true, the perfor mance was sloppy; it the second, the choreography was indistinctive. I felt I was witnessing a poorly modified, precisely ex ecuted imitation of Martha Graham's LAMENTATION in Collins' performance of Sloth. I found myself on the ROADS TO HELL looking for Art. As the DOLLS filled the stage. I realized why I was bored by what I was watch ing: the artistic Force was not being given to the audience; I was not being touched by it. I Artistry found lacking was merely witnessing other people making dances. I felt cheated. I would have pre ferred to have been exercising my own body rather than simply sitting square on my hips wondering how I would be able to express this discov ery. The opening pose of MARY piqued my interest. It was lovely to hear harmonious music being created and pro jected from within the two dancers' bodies. As the rhyme was repeated, I felt I was witnessing the time period of 1967 to 69--its questioning protests (demonstrated in the foot-stamping sequence which underscored "where"), its im patience (represented by the interruption of each perfor .. „ .. „ .. .. .. „ .. Av. Fox's Market ri USDA Choice Western Beef 101 South Union Street 944-7486 Hours: Monday thru Saturday 7 a.m. to 9 p.m. Friday 7 a.m. to 10 p.m. Perhaps the camera captures the expression of artistic Force that was not evident to the naked eye at last Thursday night's Danceteller performance. mer's attempt to recite the rhyme), its "beautiful" mari juana-smoking gurus (cleverly portrayed by the lamb-cos tumed Neil Christiansen). And still, I was only being allowed to watch. Every performer, regard less of his medium (dance, drama opera, etc.) has the responsibility for giving some portion of the artistic Force, creative energy, that intang ible Something to his aud ience. It is the performer's duty to allow his audience to be touched, shaken or changed. None of the members of Danceteller did this. Each kept that energy within the bounds of the performing Visit Fox's Famous Deli area. Even Merce Cuningham does not insult his audience in that manner. His dancers may each work within His/her own space but, while performing within that space, they also give out the creative energy which may be received by their audience--even an aud ience which is shut away from them by celluloid. I realize this is Central Pennsylvania. I realize Dance teller's audiences may be small and seem unapprecia tive. I realize that the per forming arts are a dialogue between performer and aud ience. I realize that Central Pennsylvanians are, for the most part, untrained in the art of communication (i.e. knowin! when to applaud). and Country Market Full variety in all departments Plus our famous In-store Bakery got ye ends: WWI we woo whotpdts Miss fw fin photo by Mike Kondor And, I realize that, given these circumstances, the per former has the burden of a monologue thrust upon him. If a performer is unwilling to accept this burden, he would do his art a greater service by moving on to the creative arena--in dance, this would be choreography-- and using his skills as a maker of things. When the idea of giv ing becomes absent from the performer, he should not ap proach an audience. Each will blame the other, but both will withdraw from the encounter feeling . by Darlene Crawford November 27
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