来源 ：娱乐前瞻 2019-12-08 10:53:33|www.tm75.net
Ann Carlson is not the type of a choreographer who makes what are known as dancey-dances. Steps aren’t really her thing. She works with everyday movement, text and props. She has choreographed works for lawyers, fly fisherman, basketball players and even, in her recent, outdoor “Doggie Hamlet,” a flock of sheep.
“I’ve been criticized,” Ms. Carlson said. “People, at different times, would say a version of, ‘Hey, Ann, I’ve seen all that work you’re doing with the lawyers, but are you kicking dancers to the side? I feel really offended.’ I’d always think about that a little bit.”
With “Elizabeth, the Dance,” created for the Ririe-Woodbury Dance Company in Salt Lake City, she’s not only working with trained dancers, but she’s also examining the art form itself — and her own place in it. The work will be performed as part of Peak Performances at Montclair State University, Thursday through Sunday.
Part of that has to do with her connection with Ririe-Woodbury, which was formed in 1964 by Joan Woodbury and Shirley Ririe. Ms. Carlson, 64, was Ms. Woodbury’s student in the 1970s at the University of Utah. “Ann was one of the most unusual students I ever had,” Ms. Woodbury said. “She was a beautiful dancer, but she was such an incredible problem solver: She always came up with something you thought wasn’t going to work, and then it did.”
It’s that wild imagination that has given birth to works like “Doggie Hamlet,” which was criticized by conservatives during discussions about federal funding for the National Endowment for the Arts. The site-specific piece is still being performed — it takes place in an open field at dusk and features five performers, three herding dogs, a dog handler, a dog trainer and a flock of sheep. The response, she said, has been all over the map.
“People sort of drop their jaw and stare at the animals and go, ‘Oh wait, I forgot to watch the humans,’ ” she said, with a laugh. “Or they say, ‘this has changed my life.’ Or, ‘I didn’t get it.’ It goes everywhere.”
[But is it art? Read about “Doggie Hamlet” and its discontents]
In “Elizabeth,” a dense and playful work for six, Ms. Carlson is looking more internally at her life in dance. When she makes a reference to a choreographer like the German expressionist Mary Wigman, she is exploring her own lineage; Ms. Woodbury, her teacher, studied with Wigman.
A dance exploring the notion of homage — as a guiding force and sometimes a suffocating one — “Elizabeth” is full of quotations from choreographers, including Wigman, Isadora Duncan, José Limón, Yvonne Rainer and Trisha Brown. A wall is built and torn down; that’s a nod both to current politics and to how creators must push up against their mentors to create something new. And, of course, Ms. Carlson just likes props.
In an early scene, a child’s voice — one of Ms. Carlson’s sons — is heard reading from Doris Humphrey’s “The Art of Making Dances.” For Ms. Carlson, this relates to how rules and truths are passed down, and what she called the gap between experience and words.
All the while, a dancer improvises, using movement that has been stored in the body over time. In that sense, Ms. Carlson sees her dancers as human museums. And the experience of working with them on “Elizabeth” has made her eager to explore more of what trained dancers have to offer: “It’s like I’m looking at pages in a book as a young person.”
Recently, Ms. Carlson spoke from Salt Lake City, where she was working with the company. These are edited excepts from that conversation.
Are your beginnings in dance somewhere inside of this piece?
That’s a story that’s in the work — well, not the story itself. But I started in ballet as a girl and at 12, I was taken by my ballet teacher to see [the modern dance choreographer] Murray Louis, who I didn’t know at the time. I was a little sheltered. I didn’t know people danced in bare feet.
He had us scratch our heads and slowly open and close our fingers and break down the movement, the gesture. It was everyday action and he said, “You can dance doing anything.”
Did that blow your mind?
Some kind of light bulb went off. It was my chore to wash the dishes at that time, and I remember washing a dish and going, “Oh wait [Laughs] I can dance during this.” And that was the beginning of the dance of the everyday. There is one other story that’s also kind of in it now.
I went to see New York City Ballet perform [George] Balanchine’s “Jewels” that same year when I was 12. I’m watching the work excitedly, and then the conductor taps on his music stand, and the dancers, all of a sudden, stopped. I can still remember the hair standing up on the back of my neck. Their tutus flipped back and their feet looked like duck feet; they all stared at the conductor. And then they ran upstage, took their spot, he tapped again and they started.
I know. I’m assuming the tempo was wrong or something. That moment also changed how I saw work.
Do you need to know dance history to understand this piece?
No. For one thing, it’s episodic. So if you don’t like where it’s going right now, just wait a couple of minutes. It’s going to change. [Laughs] There’s a kind of through-line, but just kind of.
Are there moments of lightness?
By lightness, do you mean a kind of open, joyful kind of play? Then yes, lots. I’m also working inside the idea of the mistake onstage, and I think that’s both kind of light and slightly tragic. You know the ballet mistake I saw? [Laughs] I think I’m always trying to recreate that.B:
www.tm75.net【薛】【北】【淮】【向】【易】【衣】【衣】【说】【明】【了】【一】【切】，【易】【衣】【衣】【这】【才】【知】【道】，【原】【来】【所】【谓】【的】【薛】【北】【淮】，【还】【有】【这】【样】【的】【身】【世】。 【怪】【不】【得】，【他】【从】【来】【不】【曾】【恋】【这】【皇】【宫】。【那】【日】【他】【在】【皇】【太】【后】【床】【前】【跪】【下】，【皇】【帝】【也】【没】【正】【眼】【瞧】【他】【一】【下】，【原】【来】【是】【因】【为】，【薛】【北】【淮】【根】【本】【就】【不】【是】【他】【的】【种】。 “【所】【以】，【扶】【桑】，【相】【信】【我】，【我】【不】【怕】【得】【罪】【这】【宫】【里】【的】【任】【何】【人】，【因】【为】，【他】【们】【都】【跟】【也】【没】【有】【关】【系】。”
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【拥】【有】15【岁】【少】【年】【身】【体】【的】【齐】【格】，【实】【际】【上】【不】【过】【是】【一】【个】【刚】【刚】【出】【生】【不】【到】【三】【天】【的】【婴】【儿】。 【脑】【海】【里】【储】【存】【的】【知】【识】，【也】【仅】【仅】【是】【身】【为】【人】【造】【人】，【方】【便】【执】【行】【命】【令】【而】【灌】【输】【进】【去】【的】，【为】【了】【维】【持】【身】【体】【机】【能】【必】【要】【摄】【取】【一】【些】【物】【质】，【为】【了】【保】【持】【较】【为】【完】【全】【状】【态】【的】【待】【机】【行】【为】。 【那】【是】【吃】【饭】，【那】【是】【休】【息】，【根】【本】【不】【会】【分】【辨】。 【他】【想】【要】【学】【习】【那】【些】【新】【奇】【的】【事】【物】，【却】【无】【法】