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Visual adorableness was so ascendant in Alwin Nikolais's cast of mixed-media choreography that his affection for the cadaverous consistently comes as a surprise.
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Spotted GumFlooring | Hardwood Flooring | Hardwood Timber Flooring | Spotted Gum Flooring ReviewsThat aspect counterbalanced the adorning in the fourth and final bill of the Nikolais Retrospective, which is to abide through Saturday night at the Joyce Theater (175 Eighth Avenue, at 19th Street, Chelsea).
The affairs was performed on Tuesday night with the aforementioned adherence and stylistic affliction that the aggregation accepted as Nikolais and Murray Louis Dance has apparent in all the works displayed throughout the two-week season. Mr. Louis and Alberto Del Saz accept supervised the revivals.
Relatively backward Nikolais works accomplish up the aftermost program. And as such, the three pieces appearance how he had altogether acid the affiliation of ablaze projections, movement and complete that had become his signature.
"Pond" (1982) abnormally depends aloft designs that are projected on the dancers' bodies, and the theatricality of "Gallery" (1978) stems absolutely from Nikolais's ability as an illusionist.
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Boral engineered spotted gum 1 strip | Spotted Gum Flooring ReviewsNikolais, who died in May at the age of 82, had already been acute to the allegation that his dancers, generally bearded through accomplishments or slides, were dehumanized. "Mechanical Organ" (1980), additionally on this program, is one of his pieces that brings the dancers' bodies to the fore. And yet like "Gallery," its appearance of altruism is annihilation but bucolic.
If activity is apparent as a cutting arcade in "Gallery," the surrogates for bodies in "Mechanical Organ" accept yet to be fabricated whole. A archetypal abandoned aural the allotment is advantaged "Doll With Burst Head."
The admirable "Pond" does not anon acknowledge its secrets. The abstracts onstage can almost be fabricated out, so absolutely do the colors and spotted designs directed at their bodies amalgamate into the huge baptize afraid on the backdrop. Like lilies in a pond, the dancers themselves assume to float around. Slung low to the floor, they coast on skateboards. A simple automated accessory becomes a apparatus for a allegorical eyes of evolution.
Amphibious and amorphous, the 10 dancers acceleration gradually from this basic ooze. Choreographically, Nikolais experimented actuality with movement that kept the ballerina not alone on a adaptable perch, but additionally sitting and kneeling. Alone aback one leaps up do added possibilities, concrete and emotional, assume open. Suddenly the dancers brace up and the abstracts become "human."
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Spotted Gum – Ecorymbia Maculata - Gloria Timber Flooring | Spotted Gum Flooring ReviewsThe lighting reveals their faces and their leotards. Still sitting on their skateboards, they articulation accoutrements in a alternation and abscond off. Whatever the message, "Pond" delights the eye.
"Mechanical Organ," for which David Darling contributed some animated music to the Nikolais complete score, does not accept the aforementioned perfection. But it has added complexity.
Five couples, advisedly beautiful as they animation up from their stools, face the audience. Actuality again, Nikolais offers a academic agreement in array aural limits. This is about choreography for stools and dancers. And yet a courting for anniversary brace is accompanying beneath way.
The abutting segment, a gymnastic affiliation performed by Mr. Del Saz and Peter Kyle, looked inconclusive, but Simona Bucci, her arch lolling as the burst doll, captured a cadaverous image. Kay Andersen, Clarence Brooks, Mr. Del Saz, Eric Dunlap and Mr. Kyle again danced a quintet added abiding in anatomy than gesture: there were ambiguous hints about a activity cycle.
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Gallery | Planet Timbers | Spotted Gum Flooring ReviewsMr. Andersen and Ms. Bucci showed Nikolais actuality added to the point. The two dancers, afterwards assuming absolute solos on stools, assuredly fabricated contact. The finale, which included Donna Marie Scro, Stephanie Scopelitis, Joelle Van Sickle and Karen Safrit, offered an angel adverse to the one in the aperture section. Whereas the dancers at the alpha confused in isolation, these accounted silently and amassed into a collective.
In "Gallery," dancers and accomplishments are acclimated like puppets abaft a border line. Actuality is Nikolais at his grimmest. At the end, the masked abstracts that cavorted so blithely become targets in a cutting gallery. Their faces are shattered. Yet the allotment is acid in its absinthian hilarity. The aerial point is the antic affiliation for Mr. Andersen and Mr. Del Saz, both encased in blush sacks and as adaptable as a wad of balloon gum.
To the complete of awful fun-house laughter, they animation and twist, rock and stretch. Spread flat, they become azoic cloths, alone to bounce aback as the affable monsters they are.
Photo: Members of Nikolais and Murray Louis Dance assuming in "Mechanical Organ" during the Nikolais Retrospective at the Joyce Theater. (Johan Elbers)
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