True to Artistic Director Erin Carlisle Norton’s most recent movement inventions “Worlding”, to be presented at the Fasseaus White Box Theater on March 9 and 10, promises raw, energetic, animalistic movement, that channels the most basic human instincts. This beast-like atnosphere maxes out the “heightened present of live performance” by creating a virtuosic atmosphere without necesarily accessing the need for cliché “virtuosic” movement, providing a fresh way for audience to view this electric piece of art.
“Loneland” a Carlisle Norton original, performed first by students at The Ohio State University as an entwined piece of larger work, “Sector” will be featured alongside works by Noa Zuk of Israel and Joanie Audet of Quebec to create The Moving Architects’ first multiculturally focused performance event.
“Loneland” is restaged and learned from video, in what rehearsal director, Laura Vinci de Venegas coins as “Erin Aesthetic”. Beginning with a captivating solo danced by Alyssa Gregory and her stoic, perhaps unintentionally prideful presence the piece immediately causes the audience to feel a little intimidated in a wholly ambrosial way. While exact movements may not resonate, thoughts of regret, struggle, and full bodied space surley will. Gregory evokes a feeling of worry, taking on the persona of a proud mother, worried for her family, or a community leader, fretfully working to solve some unknown issue.
As the piece moves to the second section, it begins by “pumping the post modern jams” of TMA’s longtime collaborative composer, Ian Hatcher. Pulsing and voltaic, the full company employs chasing movements, palpable interactions, and even slithering on the floor. To contradict these seemingly beastial movements, reminders of the modern world arrive in tight and simple gestures that appear to be the dancers using their hands to scan invisible I.D.’s as if punching the line at the beginning of a nine to five work day. A flick of the wrist in tightly woven, DNA-like formation with arms linked on each dancer’s shoulder to create a grid-like connection between dancers is all the calm before another bout of excitement sweeps in again.
A final emerging solo danced by Allison Anich’s refreshingly flowing, light, and silky being, resonates with the audience as the piece winds down to an end.
To see the other two pieces alongside “Loneland”, and to buy tickets, follow this link.
And to catch “Loneland” and other Architect “ballyhoo”, attend THAW 2013, dance portion curated by The Moving Architects themselves.