mdw was affiliated last quarter with a Forsythe project sponsored by OSU and spearheaded by Norah Zuniga-Shaw, one of mdw’s colleagues. The entire experience ended up being very rewarding and entailed teaching six weeks of a twelve week studio class for the participants. mdw’s portion was followed by four weeks of teaching by Nik Haffner, who shared choreographer William Forsythe’s (and his own) improvisational tools with the dancers. The final two weeks were spent assisting with an installation piece called “Monster Partitur,” that was performed at the Wexner Center on campus. The piece references the slow death of Forsythe’s wife to cancer. I was able to see it twice – a very powerful and moving piece wherein the hyperarticulate dancer creates a score through vocal sounds that are filtered and mixed by a composer/audio engineer as the dancer is making them. Here’s a brief description from the Wexner Center’s
website:Dancer Alessio Silvestrin delivers a mesmerizing performance against a backdrop of sculptural elements created from life-size models of human skeletons and line drawings traced from these gnarled forms, which also serve as cues in the performer's score (the word "partitur" in the title is a reference to the musical scores utilized by orchestra conductors). Monster Partitur is a condensation of and companion to Forsythe's Bessie Award–winning You made me a monster.
We took eaw to see it today as it was an informal and relatively brief performance (15 minutes). He was awestuck and asked to say hi to the dancer afterward. The performer was completely gracious. So far, eaw has seen live performances of choreography by William Forsythe, Trisha Brown, David Dorfman and Pilobolus. That’s a pretty good roster for a 2 year old.
mdw was affiliated last quarter with a Forsythe project sponsored by OSU and spearheaded by Norah Zuniga-Shaw, one of mdw’s colleagues. The entire experience ended up being very rewarding and entailed teaching six weeks of a twelve week studio class for the participants. mdw’s portion was followed by four weeks of teaching by Nik Haffner, who shared choreographer William Forsythe’s (and his own) improvisational tools with the dancers. The final two weeks were spent assisting with an installation piece called “Monster Partitur,” that was performed at the Wexner Center on campus. The piece references the slow death of Forsythe’s wife to cancer. I was able to see it twice – a very powerful and moving piece wherein the hyperarticulate dancer creates a score through vocal sounds that are filtered and mixed by a composer/audio engineer as the dancer is making them. Here’s a brief description from the Wexner Center’s website:
1 comment:
EAW is going to be a true dance sophisticate!
Love,
Grandpa Durham
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