Dances of Isadora (Duncan)
Capturing the essence of Duncan’s feisty and romantic nature, the Suite of Isadora’s Solos, as staged by Lori Belilove and performed by Sara Mearns, offers Duncan’s vision of dance, primordial at its root and universal in its expression. Designed as an emotional arc that progresses as a transformation from purity to a dark lament, then back into the light, the 25 minute solo will explore Duncan’s classical works ca.1900-1924 (including Narcissus, Butterfly Etude, Death and the Maiden, Flames of the Heart, Les Funérailles, Rose Petals to the music of Chopin, Brahms, Lizst) crafted together to create a snapshot portrait of the complex and powerful woman.
Choreography by Paul Taylor
Neruda wrote of poetry that mirrors “the flawed confusion of human beings,” poetry “worn away as if by acid by the labor of hands, impregnated with sweat and smoke, smelling of lilies and of urine, splashed by the variety of what we do, legally or illegally… as impure as old clothes, as a body, with its foodstains and its shame, with wrinkles, observations, dreams, wakefulness, prophecies, declarations of love and hate, stupidities, shocks, idylls….” He might have been describing the predatory dance that originated in the brothels of Buenos Aires at the turn of the 20th Century: tango. The music of tango – with Spanish, Italian, Indian, African and Jewish influences – was taken to new heights by Astor Piazzolla. Without a single authentic tango step, Paul Taylor captures the essence of tango culture. In a dimly lit dive, working class men and women confront each other in sizzling sexual duets and trios: men with women, men with men and women with women. Two men too drunk for conquests perform a loopy dance as lamplights sway dizzily overhead. A woman who has searched desperately for a partner but failed to find one, collapses – as if mortally wounded by a night without passion.