We’re expressing ourselves through more channels than ever
before, but what are we saying? That might well be the question driving
this riveting new contemporary dance work by Portland performance
company Teeth, which debuts this week. In it, two men (Philip Elson and
Noel Plemmons) and two women (Molly Sides and Shannon Stewart) embody
the image manipulation, incessant chatter and selective hearing of the
information age. Well-articulated unisons give way to self-conscious
posturing, rough partnering and the herky-jerky movement of wind-up
toys. Some of the imagery is provocative, and much of it is
intentionally unpretty, although the dancers, with their technical chops
and laserlike focus, do it beautifully. Their onstage vocals, from
mumbles to yelps, are also manipulated as part of the ambient score,
which is partially prerecorded and partially digitized live, cocooning
the audience in white noise.
Local dance presenter White Bird has commissioned Make/Believe,
with choreography by co-director Angelle Hebert and music by her
composer and partner Phillip Kraft. This is not the first time Hebert
and Kraft have tackled identity and communication issues. A previous
work, Grub, drew inspiration from the time they found themselves
emailing each other from laptops perched on the same table. Since its
2006 inception, the company has moved from elaborately staged shows
toward the more emotionally raw aesthetic of their 2010 duet, Home Made, which White Bird cofounder Paul King described as “an earnest depiction of who they are.”
Hebert and Kraft
continue to peel away artifice in part, they say, because they’d like to
tour internationally (less baggage or all kinds makes you more
attractive to promoters), but also out of a desire to communicate more
effectively with viewers, and with each other.
For her part, Hebert
is reluctant to discuss the work before its debut, for fear of feeding
viewers preconceived ideas. But, she added with a laugh, “We can talk
afterward.”
SEE IT: Lincoln Hall at Portland State University,
1620 SW Park Ave., 725-3307. 8 pm Thursday-Saturday, Jan. 26-28.
$20-$30. Tickets at whitebird.org.
...should really have been reported that a dancer for Teeth also happens to be an employee of White Bird...
"...reluctant to discuss it..." most post-modernists are - why? most of their work is about nothing, leaving them nothing to say about it - it fills time, fills space, makes fans feel hip and cool; on an inside track with something untterly idescribable (!?!?)
yeah, and that's where it stays, manly because if they really tried to say something about something rather than nothing about nothing, their work would have some sort of vision against which to be measured - much safer to have no vision at all; ergo, nothing against which to be measured
safer for the artist, safer for their fans: nothing ventured nothing lost - there's no such thing as failing to make nothing, nor likewise understanding it - it's 'nothing' - what's there to understand?