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Home · Articles · Arts & Books · Dance · Make/Believe (Teeth)
January 25th, 2012 HEATHER WISNER | Dance
 

Make/Believe (Teeth)

Ten million channels and nothing but noise.

performance_teeth_3812MAKE/BELIEVE - IMAGE: www.aaronrogosin.com
3 Comments
     
Tags: Teeth Dance

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.

 
  • Currently 3.5/5 Stars.
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01.26.2012 at 07:55 Reply

...should really have been reported that a dancer for Teeth also happens to be an employee of White Bird...

 

01.26.2012 at 11:48 Reply
The performance this evening was awesome!

I love seeing the evolution of tEEth's work, the originality, and connections to root sensibilities.

The duets and individual vignettes were wonderful, varied, and yet connective. 55 minutes was perfect and cozy, but I appreciate how tEEth challenges the audience, and look forward to future inspirations that break that 1hr wall, if even by three minutes.

The score was the best yet!
It would be wonderful to simply listen to, even without the accompanying dance, but of course gave a perfect symbiotic life to each other with the interweaving of movement and sound.

Rachelle did a great job with the costume design. The way that it brought subtle use of the curve of fabric from hood to cowl was inspiring. I loved how it both accentuated the dancers' form, and allowed for playful glimpses of their human nature.

Thank you, thank you, thank you!

 

03.14.2012 at 11:39 Reply

"...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?

 

 
 

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