2F ** Houston Chronicle Friday, Sept. 13, 1996 'Fall ls in the Fair' • • • • • • • • • - Six folk artists will be on hand to chat with visitors and demonstrate their crafts dur­ ing the openjng today and Saturday of a new Gallery Americana exhibit meant to OF THE herald the approach of _autumn. Gallery officials say their Fall Is in the Fair show • • • • • • • • • will feature works ranging from Halloween characters carved from gnarled tree branches to tin pumpkins and turkeys. The visiting artists will be Wisconsin carver Tony Costanza, Pennsylvania potter Ned ' Foltz, Massachusetts rug-maker Leslie Roe McCabe, North Carolina tin artists Mary and Steve Petlitz, and Jennifer Schneeman, who works with fabric. • 10 a.m.-5 p.m. today and Saturday at Gallery Americana, 3941 San Felipe. Ad­ HERE'S WHAT'S WORTH CHECKING OUT mission is free. Call 622-6225.

AT MILLER OUTDOOR THEATER: The Austin-based Sharir Dance Company will perform tonight and Saturday evening. Lone Star dances

Be there tonight or Saturday evening to catch "A Weekend of Texas Contemporary Dance" at Hermann Park's Miller Outdoor Theater. The program will feature world premieres by Texas choreographers Michele Brangwen, Sarah Irwin and Kathy Wood, as well as performances by Austin's Sharir Dance Company. Brangwen's work is Amelia, while Irwin's is Ashes, Ashes, created in collaboration with poet/per­ former Niobe Ngozi. Wood and Koro, a Houston-based dance ensemble, will present the new work Snicker Snack. The Sharir company will perfonn More About Love by Yacov Sharir and Dervishing by Jose Luis Bustamante. • 8:30 tonight and Saturday evening at Hermann Park's Miller Outdoor The­ ater. Admission is free. Call 520-3290. Friday, Sept. 13, 1996 Houston Chronicle 9F WEEKEND PREVIEW **

CLASSICAL MUSIC & DANCE

HOUSTON SYMPHONY: Christoph Es­ ano; principal players. Music of Berg, We­ versity, Entrance 8 off University; 527- DANCE: New works by choreographers chenbach, conductor; Uri Pianka, violin ; bern, Schumann. 8 p.m. Wednesday. Al­ 4933. Free. Michele Brangwen, Sarah Irwin, Kathy Desmond Hoebig, cello; Scott Hol­ ice Pratt Brown Hall, Rice University, Wood and Austin's Sharir Dance Compa­ shouser, piano. Beethoven, Triple Con­ Entrance 8 off University; 227-ARTS , (800) UH CONCERT: Music for Oboe and ny. 8:30 tonight and Saturday evening. certo. Shostakovich, Symphony No. 5. 8 828-ARTS. Voice, with faculty members Robin Free. Miller Outdoor Theater, Hermann p.m. Saturday, 2:30 p.m. Sunday, 8 p.m. A CELEBRATION OF ANCIENT Hough, oboe; Katherine Ciesinski, mez­ Park; 520-3290. zo-soprano; others. Cantatas of Bach , Monday; Jones Hall. Call 227-ARTS or AMERICAN CIVILIZATIONS: Author Gra­ BALLET FOLKLORICO, MEXICO: Pro­ (BOO) 828-ARTS for more information. ciela Limon and musical group Los del Music of Vaughan Wil liams. David Ashley White, others. 7:30 p.m. Monday. Dudley gram for young audiences. 11 a.m. Satur­ LOS ANGELES PIANO QUARTET: Sur. Readings from Lim6n's novel Song of day . Free. Miller Outdoor Theater, Her­ the Hummingbird. Folk music. 3 p.m. Sun­ Recital Hall, University of Houston. En­ Group launches Houston celebrations of trance 16 off Cullen; 743-3167. mann Park ; 520-3290. Schubert's 200th birthday and tOOth an­ day. Museum of Fine Arts. Call 743-2841 niversary of Brahms' death. Schubert, for details. HOUSTON BALLET: Wortham Theater Quartet, D. 487, and Trout Quintet. with CLASSICAL INDIAN FLUTIST: Pandit Center: 227-ARTS , (800) 828-ARTS . Houston Symphony double bass player Hari Prasad Chaurasia with accompani­ Timothy Pitts. Brahms, Piano Quartet, Op. ment on tabla. 8 p.m. today. Hamman •A Balanchine Celebration: Three 26. Presented by the Houston Friends of Hall, Rice University, Entrance 13or14 off works choreographed by George Bal­ Music/Shepherd School of Music cham­ Rice Boulevard; 789-4653. anchine, co-founder of New York City Bal­ ber series. 8 p.m. Tuesday. Alice Pratt KAZAKSTAN ORCHESTRA: Presi­ let. La Valse , Agon, Theme and Variations. Brown Hall , Rice University, Entrance 8 off dent's Orchestra of the Republic of Kazak­ 7:30 p.m. today-Saturday. 2 p.m. Sunday. University Boulevard. Call 285-5400 for stan . Ayman Musakhodjaeva, conductor. •Swan Lake: Staged by artistic direc­ details. Music of Bach , Mozart, Tchaikovsky, oth­ tor Ben Stevenson. 7:30 p. m. Thursday. HOUSTON SYMPHONY CHAMBER ers , plus traditional Kazak music. 8 p.m. Performances continue through Sept. 29. PLAYERS: Christoph Eschenbach, pi- Monday. Alice Pratt Brown Hall , Rice Uni- A WEEKEND OF CONTEMPORARY METRO a STATE Michael Jay Ciasullo Michael Jay Ciasullo was born June 15, 1956, in Cleveland, Ohio. He died on September 2, 1996, in Austin surround­ ed by loving friends and family. Michael moved to Dallas in 1965, graduating from Hillcrest High School. He moved to Austin in 1975, and ma­ Austin American-Statesman @ jored in studio art/printmaking with a minor in dance from the University of Texas at Austin. He also studied in New York, Boston, and Italy. On September 2, 1981, he was united in loving personal partnership with Phillip R. Conard. A painter, Michael's work is in collec­ tions across the country. His murals at Kealing Junior High School and on the Wednesday, September 4, 1996 former Safeway Farm Products build­ * ing each received "Excellence In De­ sign" awards from the City of Austin. As a visual arist, Michael was a design­ er and head designer of the Austin "Trail of Lights" from 1982-1992 and again in 1995. He also created set de­ signs for the Austin Natural Science Association. His work as a neon artist also received national acclaim. He did work for television and numerous films. A dancer, Michael danced with the Sharir Dance Company from 1982-1986. He also performed in several Zilker Summer Musicals, with the Austin Contemporary Ballet, the Deborah Hay Dance Company and others. He choreo­ graphed the music video for the Texas Tornadoes Grammy winning debut al­ bum. As a businessman, Michael owned Ciasullo Designs and helped cre­ ate residential and restaurant environ­ ments across the country. He was proud to give many other artists, both established and emerging, the opportu­ nity to work as artists. He received a Texas Commission or' the Arts Artist in Residence grant and was a teacher at Kealing Junior High from 1986-88. He is survived by a large and loving do Springs; brother-in-law, Kenton Con­ family including his partner and soul­ ard of Nashville and sister-in-law mate of 15 years, Phillip R. Conard; Glenda Denton of Durango, Colorado. mother, Betty Carroccio; brother, Jim ~ graveside service will be held at Carroccio and family, all of Austin; Miller Creek Cemetery in Blanco Coun­ father, Eugene Ciasullo and wife, Patty; ty on F~i?ay, September 6, 1996, at 11:00 brothers, Mario and Vincinzo Ciasullo a.m. V1s1tation with family will be at of Pittsburgh; step-father, Nick Carroc­ Weed-Corley-Fish Mortuary, 3125 North cio; brother, Nick Carroccio and fian­ Lamar from 6:00-8:00 p.m. Thursday. A cee, Heather, all of Dallas; brothers, memorial service will be held on Sun­ Eugene, Matthew and Joey Ciasullo of day, September 8, 1996, at 11:00 a.m. at Cleveland; grandmother, Anita Carroc­ Wooldridge Park, 9th & Guadalupe. cio of Dallas; grandparents, Charlie and Flo McNamara of Kentucky; loving . In lieu of flowers, memorial contribu­ aunts, uncles, and cousins; mother-in­ tions can be made to the Central Texas law, Kathy Conard, brother-in-law, Medical Foundation HIV Study Group or Christopher House. Mark Conard; and special nephews, Daniel and Adam Conard. all of r,olora- Austin American-Statesman @ METRO 6 STATE: NEIGHBOR

Thursday, September 5, 1996 87

Services Friday for Trail of Lights designer

• 'Renaissance man' 1992 and again in 1995. ning debut album and received a Phillip Conard, who lived with "I was impressed with his versa­ national award for the neon Ciasullo. Ciasullo was known tility. He was kind of a Renais­ artwork at Flores Restaurant in Survivors include his mother, for talents in visual, sance man. He had great skills in Austin. Betty Carroccio of Austin; father, many different areas and did it all Ciasullo was the owner of Cia­ Eugene Ciasullo of Pittsburgh; performing arts on a professional level," said Ya­ sullo Designs, which designed and brothers, Jim Carroccio of Austin, kov Sharir, director of the Sharir created residential and restaurant Mario and Vincinzo Ciasullo of American-Statesman Staff Dance Company. environments around the coun­ Pittsburgh, Nick Carroccio of Dal­ Ciasullo performed as a profes­ try, including Baby Acapulco, las and Eugene, Matthew and Joey Graveside services for Michael sional dancer with the dance com­ Babe's and Fat Cats in Austin. Ciasullo of Cleveland. Jay Ciasullo, who designed Aus­ pany from 1982-1986. "He was very joyous and very tin's Trail of Lights for 11 years, He also choreographed the mu­ generous. He had an amazing abil- will be at 11 a.m. Friday at Miller sic video for the Texas Tomados' ity to touch people in a very genu­ r Creek Cemetery in Blanco self-titled, Grammy Award-win- ine and passionate way," said County. Ciasullo, 40, died Monday at Christopher House of AIDS. He was known for his talents in the visual and performing arts. He de­ signed Austin's Yulefest Trail of Lights at Zilker Park from 1982- DANCE MAGAZINE The World's Largest Dance Publication Founded 1927

NOVEMBER PERFORMA CALENDAR

Former Biii T. Jones dancer Arthur Aviles performs his Arturella at Hostos Community College in New York City, November 1 and 2.

TEXAS Austin Tapestry Dance Company, Nov. 1-2, Paramount Theatre, (512) 472-5470. Sharir Dance Comapny, Nov. 15-16, McCollough Theatre , 25th & East Campus Dr., (512) 471-1444. Corpus Christi Houston Ballet, Nov. 2, Bay Front Auditorium, (512) 883-8543. Dallas Meadows Dance Ensemble, Nov. 13-17, Bob Hope Theatre, SMU, (214) 768-2787. Doug Varone and Dancers, Nov. 15-16, TITAS, 3101 N. Fitzhugh Ave. , (2 14) 528-5576. Sacred Tibetan Music & Dance, Nov. 22, TITAS. Chamberlain Ballet, Nov. 29-Dec. 1, Mcfarlin Auditorium, SMU, (800) 442-2281 . Houston Houston Ballet, Nov. 29-Dec. 29, Brown Theater, Wortham Theater Center, (713) 237-1439. Lewisville LakeCities Ballet Theatre, Nov. 30-Dec. 1, Marcus High School, (972) 317-7987. UTAH Salt Lake City Ririe-Woodbury Dance Company, Nov. 1-2, Capitol Theatre, 50 W. 200 S., (801) 355-2787. Ballet West, Nov. 8, 9, 13-16, Capitol Theatre. VIRGINIA Fairfax Mark Morris Dance Group, through Nov. 1, Center for the Arts, George Mason Univ., (703) 993-8888. Donald Byrd!The Group, Nov. 23-24, Center for the Arts, George Mason Univ. Mcl ean Spanish Dance Theatre, Nov. 2, Alden Theatre, 1234 Ingleside Ave. , (703) 790-9223. Richmond Richmond Ballet, Nov. 1-3, Carpenter Center. WASHINGTON

DANCE MAGAZINE November 1996 THE DAILY TEXAN 13 ENTERTAINMENT THURSDAY, NOVEMBBI 7, 1988

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McCullough Theatre 25th & Easl Campus Drive

$ 14 genera I aclmission $9 students & seniors

Tichcls av11i lnble al all UTTi\ I TicketCenters or Ch11rge-A-Tickct al 4 7 7 -6000 lnformnlion 471-1444

Season subscriptions: $40 Student suhseriplions: $20

Call 458-8158

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1/z ,f"Je.'\f McCullough Theatre 25th & Eut Campua Drive

$14 ~neral admiuion $9 atudenta & aenion

Ticl.eta available at all UTTM Ticl.etCenten or Cha~e-A-Ticl.et at 4 77-6060 Information 471-1444

Seaaon aubacriptiona: $ 40 Student aubacriptiona: $20

Call 458-8158

Sharlr Dance Companf. Is In residence at the University of Texas Colle~ of Fine Ari$ and Is funded In pan bt the ' ~f ~~~~E~3:r'Wi~~u%f~:s ~~h~h~J."rt~s~~"t':;~~Y~s~':i .the Arts. e Mid-America Ans Alllance and the ltv THE TEXAS ' TRIANGLE You,.- Gay New-s Source

S[AN MOYNillAN

NEW DANCE FROM SBARIR Sharir Dance Company opens its 14th Anniversary Season this weekend at U.T.'s McCullough Theatre. The program includes "Cyber Human Dances/Hollow Ground II," a col­ laboration of co-artistic director Yacov Sharir and guest artist Andrea Beckham that uses dancing computer-animated cyborg images (and real-life dancers, too). Also featured is the premiere of co­ artistic director Jose Luis Bustamante's "Unending Rose" and company member Bryan Green's "In the Galleiy of the SOul," a piece that incorporates the tossing and turning of sleep into its choreography. Performances are Nov. 15 and 16 at 8 p.m. and Nov. 17 at 2 p.m. To find out more call 512-471-1444.0 C9 Saturday, -9.1996 Entertainment Modern dancers forge ahead Sharir, Ariel, Bravo and others expand and experiment with new works

ransition is the buzz-word for modern explain the works. Minh Cameo pnotos ·T dance this season. What's happening? Besides expanding his home season with Yacov Sharir's '2X5+', a highly physical, pure dance work, is on the program for the company's next show. Plenty. Companies are taking more the matinee series, Sharir is also increasing risks, both financially and artistically, international tourmg. His dancers appeared programs, but in early spring Beckham with expanded performances, longer in the Netherlands and Israel this fall, with makes her local debut in an evening of orig­ seasons, increased touring. More dancers are an additional performance in Tel Aviv Sharir Dance Company inal works. moving into the choreo­ planned for sprmg. graphic arena. while a •Bravo, who performed "ith Sharir Dance As Shanr forges ahead, he continues ex­ When: 8 p.m .. Nov. 15-16; Company in the mid-'BOs. founded her own new generation of per­ 2 Nov. 17 ploring human bodies in motion, both in cy­ p.m. company, KINESIS, in 1990. The troupe has former/ choreographers berspace and in the real world. For the past Where: McCullough Theatre is appearing. steadily grown, and this season announced three years, his virtual reallry and comput­ How much: $9-$14 Anuradha Naimpally as its resident choreo­ The Sharir Dance er-generated choreographic research has lnfonnatlon: 471-1444 grapher. Her latest show. "The Rolls of Roles," Company stands as a placed him at the forefront of dance and tech­ premieres in San Antonio on Nov. 16, before barometer for the state or nology. playing locally at Planet Theatre Nov. 29-30. modern dance in Austin. He premieres a new work, "Cyber Human Now in its 14th season. Dances/Hollow Ground IT," which blends Co-artistic director Jose Luis Bustamante •Another modern dance artist in transi­ the company continues computer-animated cyborg figures with live also premieres "Unending Rose," which fea­ tion is Andrea Ariel. who only recently ex· experimenting with cut- dancers onstage, to kick off the new season. tures new dancers Theresa Hardy, Marika panded her company, Ariel Dance Theatre, ting-edge choreography The dance is a multimedia collaboration, co­ Chandler, David Chao and Luis Narvaez. Bus­ and boosted its performance season. Ariel and forays into the emergmg realm or art and choreographed with guest artist Andrea Beck­ tamante says the season is dtfmitely a Iran· premieres her latest production, "PROTO," technology. ham. The piece premiered in September at sition year due to the added ·performers. "It Nov. 21, for an extended run through Dec. 14. Her venue is the Nalle Plastics Warehouse in Founder and co-artistic director Yacov the Future Moves Fesuval in Rotterdam, takes time to assimilate into this company," Netherlands. a concert that marked the first Bustamante said. "I am still getting to know downtown Austin. In this industrial ware­ internauonal festival on the new dancers, how they move. It takes time house, Ariel will blend dance, large set de­ dance and new technology to create a unified style." signs and live music. performances. Sharir has influenced scores of local •Veteran performer Deborah Hay, Austin's Contrary to Sharir's earli­ dancers through his teaching and choreog­ most famous modern dance figure. is also in est explorations of virtual raph~ After building his company into Texas' transition this season. After 15 years. Hay is . reality. which lost impact leading modern dance troupe, he is watching ending her large group workshops. Since 1980. when translated from com­ the next generation of dancers and choreog· these four-month, intensive dancel perfor· puter onto the proscenium raphers emerge. mance workshops lured dancers from around stage, his latest efforts more Although Sharir took his former protege the globe to Austin. The performances evolv­ successfully juxtapose vir­ Bustamante on board as co-artistic director ing from Hay's workshops were a rite of tual and real choreography. last year, he also sees present and former spring for Austin's dance community. Essentially, his recent pieces dancers such as Beckham. Toni Bravo, Hay is spending several months abroad this are more physical. Shanr Stephen Brown and Bryan Green evolving year, teaching and performing in Canada, Eu­ and Beckham focus on into choreographers. Sharir is including rope, Australia and New Zealand. In April. human dancers, rather than Green's lyrical, humorous duet. "In the she will perform her work. "Voila. ·· in New video projections of com­ Gallery of the Soul," in the Sharir Dance York City with dance artists Scott Heron and puter-generated animation Company's upcoming program. Grace Mi-He Lee. (Heron and Lee have stud­ only. Others are producing their own shows. ied extensively with Hay over several years.) "The challenge is to make • Brown, who made his Austin choreo­ • Of all the changes this year. the most im· the physical world as magi­ graphic debut last spring with fellow dancer portant is the loss of Michel Jaroschy, who cal as the cyberworld," Green in "Half-Brown. Half-Green." will pre­ died last month of a heart attack. Jaroschy Sharir said. "In perfor­ sent his first full evening of his own chore­ was a long-term, loyal supporter of Austin In 'PROTO,' Andrea Ariel blends dance, large set designs and live music. mance, if I exclude humans, ography, "Four Feet Dance," Dec.13-15 at Syn­ dance. Hay, Sharir, Ariel and many others. I exclude the greater excite­ ergy Studio. Brown, one of Sharir's strongest often performed at Jaroschy's theater. Capi­ Sharir says 1996-97 is a transitional season ment of exploration. My primary concern is male dancers, has taken a leave of absence tol City Playhouse. an important dance venue for the troupe. As his company moves into its placing (dancing) humans in new environ­ from the company to prepare for his concert for the past decade. Many local dancers are 14th year, changes abound. He has hired four ments." of solos and duets. mourning the passing of this devoted arts fig­ new dancers. A site-specific work scheduled With all the hoopla over cyberspace and new •Beckham. a principal Sharir dancer for ure and monitoring the fate of his beloved to debut in February will take the company technologies, Sharir still creates the bulk of many years, is now free-lancing as a dancer Capitol City Playhouse. out of a traditional theater setting into a rac­ his dances the old-fashioned way, through and choreographer. In recent months, she per­ Transitions are inevitable. Some changes quetball court. A new Sunday matinee series hours of trial and error and honest sweat in formed and choreographed in the Czech Re­ are well-planned, and a stepping stone to is geared for families with school-age chil· the studio. His second offering on the program public, France and the Netherlands. Sharir growth. Others are unexpected, brought about dren, with question-and-answer sessions to is "2X5+", a highly physical, pure dance work has included her choreography on his past by circumstances beyond control. 1 • :rA:!Y4 -- 7.,....., T -. ·a ;•·r- , ~...... ··---·-· ·­ ·-.- -~ .. : ,_ .. -. •_...... _...... :.W

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$ 14 general admission $9 students & seniors

Tickets available at all UTTM TicketCentera or Charge-A-Ticket at 4 7 7-6060 Information 4 71-1444

Seuon aubacriptions: $40 Student subscriptions: $ 20

Call 458-8 t 58

Sharlr Dance Companfc ls In residence at the University of Texas Colle~ of Fine Arts and ls funded In part bl: the ~i'J:.~~~~8:r~~~~u%f~:s "trtsth~~u"'"s"t~A~~&~~'f!'sl'o':i.tbe Arts, e Mh1-Amert.;a Arts Alliance and the 1iy ' "· .

THE D AILY TEXAN 13 ENTERTAINMENT THURSDAY, NOVEMBER 14, 1996

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J\lcCullough Theatre 25th & East Campus Drive

$ 14 general admission $9 students & seniors

Tickets available al all UTTM Ticl.ctCenlers or Charye-A-Ticl.et nt 4 7 7 -6060 Information 4 71-1444

Season subscriptions: $40 Student subscriptions: $20

Call 458-8158

Sharir Dance Company is in residence at the University of Texas College of Fine Arts and Is funded in part by the National Endowment for the Arts, the Texas Commission on the Arts, the Mid­ America Arts Alllance and the City of Austin under the auspices of the Austin Arts Commisslpn. SHARIR DANCE COMPANY opens its 14th season. flush with international success after appearing at the Future Moves festival in Holland and the Suzanne Dellal Dance Competition in Tel Aviv earlier this fall. Artistic Director Yacov Sharir shows Austin the multimedia collaboration he premiered in Rotterdam, Cyber Human Dances/ Hollow Ground, Part II, as well as the emotionally charged 2X5+; Co-Artistic Director Jose Luis Bustamante premieres a passionate quartet, Unending Rose; and company member Bryan Green offers a lyrical duet In the Gallery of the Soul. THREE PERFORMANCES ONLY' Nov 15-17, Fri & Sat, 8pm, Sun, 2pm. in the McCullough The­ atre, UT campus. Tickets: $14 ($9 seniors, stu­ dents). 471-1444.

Sharir Dance Company performs Fri-Sun, Nov 15-17, at the McCullough Theatre on the UT campus The Auslir,i Chroni~ November J:j, }99~ 93

\, City beat p.m .... The Broccoli Project stages the feminist tale "The Heidi Chronicles" at Rock's premier songstress Melissa UT's Utopia Theatre at 8 p.m .... Etheridge will be at the Erwin Center at Zachary Scott still has the doggone 8 p.m. playing songs off her new album funny play "Sylvia" at 8 p.m .... "The "Your Little Secret" as well as stan­ Glass Menagerie" continues at Capitol dards like "Bring Me Some Water" and City Playhouse at 8 p.m .... Live Oak "Come to My Window." ... Toni Price Theatre at the State has "On Golden kicks off the 1996 Austin Acoustic Pond" at 8 p.m. Music Festival at 9 p.m. at the Green Room, 306 E. Fifth St., also with Los Pinkys, Sara Hickman, Johnny Goudie Best of the rest and lots more.... Lyrical Austin main­ Former "Tonight Show" bandleader stay Alejandro Escovedo is back in ac­ Doc Severlnsen begins a two-night tion at the Bitter End's B-Side .... The stand with the Austin Symphony at 8 Broken Spoke has fine honky-tonk p.m. at Bass Concert Hall .... The UT with the Derailers . ... It's Miss Laura's women's volleyball team plays Okla­ birthday at the Blue Flamingo with Sli­ homa at the Recreational Sports Center ver Scooter and more.... Christine Al­ at 7 p.m .... Swing your partner at the bert plays- an early nonsmoking show Friday Night Contra Dance at Wilshire at Antone's, followed by a late smoking Presbyterian Church at 7:30 p.m .... show by the Killer Bees . ... The Cactus Comedy Gym's 10th anniversary week Cafe has country and bluegrass with continues with headliner Robert Tim O'Brien and Peter Rowan . ... Marti­ Hawkins at Capitol City Comedy Club ni-madness favorite Combustible Edison at 8:30 and 10:30 p.m .... The Esther's kicks back at the Electric Lounge; ... Follies comedy troupe has two shows at Mekons/Waco Brothers frontman Jon 8and10p.m. Langford plays the Hole in the Wall - Chris Rlemenschneider with Bigfoot Chester .... S&M rock act the Genitorturers is at the Voodoo For more Best Bets, call Inside Line at 416-5700 Lounge.... Storyville rocks Stubb's. and enter category MORE (6673) . . . . Usa Tingle is at Pearl's .... Omar & the Howlers return to the Saxon Pub.... Liberty Lunch has Missile . Command . ... The Asylum Street Spankers have an in-store at Wa­ terloo Records at 5 p.m .... Gary Primich plays the blues at Jovita's. At the movies Barbra Streisand's labor of love, "The Mirror Has Two Faces," opens with Jeff Bridges today. ... Michael Jordan meets Bugs Bunny in "Space Jam." ... The Vil­ lage has "The Grass Harp," based on a Truman Capote novel and starring Sissy Spacek and Walter Matthau.... "Hustler White," a can­ did tale of a sordid life, opens at the Dobie .... The Texas Union 812 Friday, November 15, 1996 Theatre is showing the classic John Woo action film "Hard­ Boiled" at 11:15 p.m. Stage setting Sharlr Dance Company kicks off its 14th season with "Cyber Human Dances/Hollow Ground 11," a collab­ oration with guest artist Andrea Beckham, at UT's McCullough Theatre at 8 p.m .... "Vinegar Tom," about two women accused of being witches in 17th-century Europe, opens at UT's Payne Theatre at 8 E2 Monday: Monday, Reviews and November 18, 1996 previews

Humans still best part of cyber-dance concert

8v SONDRA loMAX black-and-white costumes and American-Statesman Staff Dance review Amarante Lucero's sophisticat­ ed lighting. Marika Chandler Attending a Sharir Dance and David Chao's silky duet of­ Company concert is like sub­ cro versus gravity. Beckham fers a microcosm of Sharir's merging oneself in a contempo­ rolls next, sticking and ripping skill in molding bodies through rary painting. The mixture of . loudly. Simultaneously; project­ time and space. "5x2+" is a new music, constantly shifting ed video of a silver cyborg figure movement feast. bodies and computerized images dances on and above the per­ Dancer Bryan Green's "In the creates an abstract world where formers. Gallery of the Soul" offers im­ non-linear sounds and move­ The innovative intro has little agery ranging from organic (a ments ebb and flow through connection with the remainder couple sleeping) to surreal (the swirls of colored lights. of the work. Beckham and illusion of bodies floating above In recent years, company Pavlik continue a series of solos a bed). Green's clever dance fea­ founder and co-artistic director and duets, their movements rem­ tures an upright bed, where Yacov Sharir has included ex­ iniscent of the video figure that Green and Theresa Hardy toss cerpts of his dance and cyber­ appears periodically. As in other 1and turn, curl and uncurl in space research on SDC pro­ Sharir computer-aided works, imaginary slumber. Hardy's lan­ grams. The season opener Fri­ the process is more intriguing guid movements are convincing, day night at McCullough than the product. Audiences may but Green seldom relaxes fully Theatre included Sharir's or may not appreciate the te­ into the mattress. "Cyber Human Dances/Hollow dious technological work in cre­ "Unending Rose," a premiere Ground II," his latest blend of ating the dancing cyborg video. by co-artistic director Jose Luis computer-generated animation For generations reared on Dis­ Bustamante, features androgy­ and live dance. ney cartoons, the animation, dig­ nous costuming (long-sleeved, Co-created with guest artist ' italized or not, is nothing new. maroon tunics) and simple, Andrea Beckham, the work Despite Sharir's well-docu­ clearly defined movements. "Un­ opens to sounds of Carolyn mented research in dance and ending Rose" is a departure from Pavlik's body sticking to a verti­ new technologies, the heart and Bustamante's densely choreo­ cal panel of Velcro strips. As she soul of his choreography re­ graphed works. The focus is on slides down the Velcro grid, the mains human bodies in motion. uniformity: Gender distinctions scratchy, ripping noises rever­ "5x2+," his •atest pure-dance are irrelevant; unison move­ berate through the theater. She piece, illustrates Sharir's con­ ments abound. The work is beau­ jumps into the grid again and in­ siderable talents. The work tifully designed, like finely stantly sticks, like cooked seamlessly weaves unfolding etched crystal, and joins Busta­ spaghetti flung onto a wall. It's arms and legs into a rich tapes­ mante's growing repertoire of a bizare, funny scenario of Vel- try of kinetic designs, framed by successful works. NcWEMriER"ZKJ9_g6 = ~ = nrF-TEXAS" TRTA.NGLE 'i 15

-~' _ , · Making Connections · · I

:., · · ·· BY sean Moynihan with each other in the roles they play, each dancer's own being confined . · TRIANGLE Stqtf individual-ness keeps getting in the way. As the curtain to its small; square, '· · ~/ ·Earlier this month, Sharir Dance comes down, the dancing continues, suggesting some sort video screen. ; ' Company, the professional dance com­ of sad infinity to this human search for real connected­ In the final piece, ' • _. __ ;:"lliilli>. pany in residence at the University of ness. "Unending Rose," by the com­ " .... Texas College of Fine Arts, began its The action of "In the Gallery of the Soul," choreo­ pany's other artistic co-director, '~fourteenth season with perfor­ graphed by Sharir company member Bryan Green, takes Jose Luis Bustamante, the dancers mances at U.T.'s McCullough place in a big bed upended on stage so that the audience are cast in roles that are quite the Theatre. The .four pieces presented gets a view from above of the "dance" of sleep. Here, a man opposite of those they danced in (three of which were premieres) and a woman (Green and Terry Hardy) have achieved a "2X5+." Here their interconnected­ were mesmerizingly beautiful connectedness that the dancers in the previous piece ness and interdependence is works that, each one in its own weren't able to attain. As the couple sleeps and dreams, unquestionable and permanent. way, captured a sort of haunting we see that even as they're off in their own separate Even if they wanted to, they can't ethos of contemporary life and rela­ dream-worlds they're anchored by their shared bed and break apart from each other, as tionships. Much of the choreography their comfortable familiarity with each other. they are integral parts of a greater A involved was based on simple, nat­ "Cyber Human Dances/Hollow Ground Ir doesn't whole (a big flower). Their individual­ ~ ural movements ("pure human have as much to do with interpersonal relationships as it ity doesn't get in the way because they motion" as artistic co-director Yacov does with the relationship between the physical, human don't have any. Inexplicably, they are Sharlr calls itl that, through refinement and repetition, world and the computer, cyber world. The choreography, drawn to each other, but struggle against each other and became gracefully more elaborate and charged with by Sharlr and guest artist Andrea Beckham, juxtaposes suffer when they get detached. Every once in a while, understated emotion. when the situation is at its best, when harmony is The program started with the premiere of Yacov achieved in their interaction, something beautiful hap­ Shartr's "2X5+," a piece that deals with the tenuousness of On *f)ance pens. interpersonal relationships and the often only-temporary dancing computer-animated cyborg images with real-life The music for the featured works, by Tom Lopez, connections that people are able to make with each other dancers and makes you think about the connections that William Meadows and David l.ang; was quite computerish throughout life. There is a coolness and an aloofness to humans have with computers and how, even though we and teclmologlcal in nature, at times eerie and space-like. the dancers, in "2X5+ • as they go through their motions. are the ones that push the buttons and enter the data to It added to the 21st century, brave new world feel of the Every once in·a while there are fleeting pairing-offs among make them wolk, the line of who's in control sometimes program. them from which they are continually and repeatedly blurs. It's hard to tell if the cyborg is repeating the simple Sharir Qance Company's next performance will be in being thrust into new situations, with or without new movements of the human or vice versa. At the beginning February. It's a site-specific piece choreographed by partners. The whole piece has a feeling of yearning to it. of this piece, the (human) dancers are stuck to a small, Bustamante to be performed in a racquetball court with Even though they look like they really want to connect square, velcro wall, which-maybe-relates to the cyborg's glass walls. 0 \'ol.,.., :\o. I h Your (_~ ay N c'vs Sc>urce February I 3, I l)lJ/

(I\' ~ ~-~-- , - :----r --- .------~. , : • ~: ! - ? _: - jf .. s- ~~~2.~~s~~a"l

Friday - Sunday, February 21 - 23, 1997 Friday & Saturday·at 7:00 pm and 8:30 pm/ Sunday at 2:00 pm

$12 ~neral admisaion · $8 studenbl and seniors For ticltets and information, call: 454-TIXS ~~~~':i':!f~~~·lg:~~~~tiV3!=~0.U.~~~~~e~~=:=;t:,:.'}.i~~1:1 ~":t\~~~=1:n~ THE AUSTIN

February 14. 1997

Friday - Sunday, February 21 - 2 3, 199 7 Friday & Saturday at 7:00 pm and 8:30 pm / Sunday at 2:00 pm

$12 general admission $8 students and seniors For tickets and information, eall: 454-TIXS ·t\S•'

1997 TEXAS LONGHORNS BASEBALL SCHEDULE "·-w--~-•···•-•"•~-~"-w".~ lfr.I -----•-w.-.-·w •w•"- February 20, 1997 liil Austin American-Statesman

Court#6 University of Texas Fri.-Sat., 7 p.m. an oreographer Jose Luis Hoffmeister Recreational Sports Center, 8:30p.m.; Bustamante explores site-specific Incorporates elements of the court into 2100 San Jacinto Blvd. Sun., 2 p.m.; works within the glass walls of a the dance itself 454-TIXS this weekend only racquetball court THE_ TEXAS

Vol. 5 T°No.17 Yol.'.ir Gay N CVVS Source FclJruary 20, ]997

Si:AN MOYNillAN SITE SPECIFIC DANCE

Sharir Dance Company per­ forms the premiere of its vexy first site specific work, "Court #6" by Jose Luis Bustamante, Feb. 21 through 23. The setting is in a rac­ quetball court. Bustamante has choreographed pieces for perfor­ mances in an abandoned swim­ ming pool, on the banks of Town Lake and for the Amphitheater at Laguna Gloria, so he's used to the challenges and the freedom of creating works outside the confines of traditional theater spaces. This particu­ lar space allows him to use walls of glass as interactive surfaces among the dancers. Performances are at 7 and 8:30pm on Fri. and Sat. and at 2pm on Sun. The racquetball court is at the University of Texas Recreational Sports Center at 2100 San Jacinto. Call 512-458-8158 for more information. Sharir Dance Company holds court in unusual A I rac '. .et glass-enclosed venue ::

Dancers David Chao• . back row from left, Bryan Green and Terry Hardy will jump, slide, bounce, careen and collide around a racquetball court in Sharir Dance Company' s 'Court 6.' choreographed by Jose Luis Bustamante, front.

H;11 :q11 Pls ;u·p optional I his weekend cated avant-garde dance. The compn- of crcat ivc alternatives is opened." as the Sharir Daner l :0111p<111y bounces Sharir ny's move from a proscenium stag<' to For yrars. nustamanf(• has ('X pl orrd offllie walls in a glass-enclosed rac- a site-specific location is gutsy, cunsid- dance on various surfaces, from rock­ quetball cow-t for its fast site-specific Dance ering the high-tech productions Sharir ing platforms to slick !loors. "Court 6" production. Sound strange? Not really. C • audiences have come to expect. The continues his forays into alternative Site-specific choreography is noth- ompany 5 troupe anticipates a large crowd of spaces, with different challenges and ing new. Fred Astaire danced it. Gene 'Court 6' faithful followers, however, and for problems to solve. Kelly excelled at it. Busby Berkeley. this unique production, the dancers Adjusting the acoustics F1orenz Ziegfield and Esther Williams Friday and Saturday; 2 p.m. will perform twice each evening, to made foriunes doing it. MTV would be allow for maximum audiences. One of his biggest obstacles has been tame without it. Site-specific choreog- Sunday Bustamante is no stranger to site- access to the space. The UT Rec Sports raphy is everywhere in the movies, on Where: UT Recreational specific dance. His repertoire includes Center is popular, and the racquetball stage and television: Build an exotic Sports Center, 2100 San Jacinto choreography created with perfor- courts are booked far in advance. Bus- set, or scout an unusual locale, then How much: $8-$12 mance artist Sally Jacques for empty tamante and the Sharir dancers have allow the choreographers to figure out Info: 454-TIXS swimming pools, trees and other un- rehearsed from 6:00-8:00 a.m. for weeks the rest. Astaire danced on walls, usual outdoor venues. - the only times they could reserve the while Kelly tapped and splashed His latest creation brings dancers court. through rain-filled gutters. Michael and audiences inside the University of "I know ice skaters do these early Jackson still interesting environs or just Austin's Texas Recreational Sports Center for morning homs, but we're dead tired," bysondra writhes and preens active modern dance and perfonnance choreography in a racquetball court. Bustamante quipped. "Once we wake lomax in a variety ofim- art community. Whatever the reason, Dancers wearing tennis shoes will up, things go well, but there have been probable-locations. our city can claim more site-specific jump, slirle, bounce, careen and collirle some interesting developments from special to the We accept dance in dance productions than most. Dance in around the space, defining what Busta- rehearsing at the crack of dawn." american-statesman odd places and a variety of places, from the State Capi ~ mante calls the court's "five walls." Another challenge is the acoustics. under unusual cir- tol's steps to the Umlauf Sculpture "I count the floor as the fifth wall," Onlookers cannot hear the dancers cumstances on stage and in the Garden, is casually accepted as just an- Bustamante said. "Actually, two of the moving inside the court or the accom- movies, where we temporarily sus- other venue. And audiences don't walls are glass, which offers a unique panying music. To counteract the dis- pend reality and let our imaginations mind. In fact, they seem to enjoy alter- perspective. There's a real sense of in- connected feeling caused by lack of reign. natives to the proscenium stage. side and outside, with the audience natural sound, Bustamante is placing In real life, however. audiences Gotta dance everywhere peeking through." microphones around the walls and sometimes balked at site-specific Bustamante's first choice for a floor. choreography. During the post-mod- Just as music fans flock to outdoor Sharir site-specific dance was the City "It's a constant struggle to balance et n dance heyday of the 1960s, choreog- concerts, dance aficionados swann to of Austin's power plant, but the liabili- what I want as a choreographer and raphers reveled in outdoor perfor- site-specific productions. When Dee ty issues were too complicated. He what the space dictates," he said. "But mances on rooftops, hay meadows and McCandless resurrected "Water- turned to UT's sports facilities, in- that's one of the reasons I love doing parking lots. Audiences dirl not. Over works" last summer, it was standing stead. Several years ago, he had re- site-specific works. You never know the past 30 years, dancers have invad- room only along the banks of-Barton hearsed - for lack of studio space - in until you begin what all the variables eel all sotis of spaces from art muse- Springs Pool. racquetball courts and remembered will be." urns to train stations and bridge an- Sharir Dance Company extends its liking the pure, clean, slick surfaces. There is a universal pragmatic con- chorages. Audiences are accustomed prorluction boundaries with "Court 6," "The court's physical attributes af- cern with site-specific works, however. to dance in unusual places. a premiere site-specific work by co- feet the exploration of the surfaces, the Once created, choreographers must de- In Austi11, however. site-specific artistic director Jose Luis Bustamante. design elements and the sound," he cide, "How can we tour with this?" works are practically a tradition. The Sharir troupe is known for its cut- said. "When an artist uses a nontradi- It's a risk the Sharir Dance Compa- Perhaps it's the warm climate, the ting edge choreography and sophisti- tional performance space, a new world ny is willing to take. 48 F;bru~ry 20:1·997·~ "A~;ti;A~;ri~~~si~"t;;;:;;;,------·------·-··------·------···---- ·-· ···---- THE DAILY TEXAN 13 ENTERTAINMENT FmAY, fmllARY 21, 1887

Sharir breaks ·perforrnance boundaries for 'Court 6'

SERGIO CHAPA clubs, and bars. Puritan ethos dic­ with AllS~iir · performance artist down the road." Daily Texan Staff tates that dance is sinful, which is Sally Jacques in creating several The space of racquetball court why it has such a small role in pieces in several non-traditional number six offers an interesting Walls become floors and floors American culture. (Site-specific performance spaces, including an challenge as far as performance become walls in Court 6, the first performances have an even smaller empty swimming pool, in the trees space. The court has four walls, si}e-specific performance for the role.) along the banks of Town Lake at two of them made of glass. "A con­ Sharir Dance Compa­ Bustamante, a veteran of site­ Laguna Gloria Ampitheatre. trast becomes apparent: the opaque ny in racquetball court specific performances, has worked "There are;n't too many people walls and the transparent walls," number six of the UT involved in site-specific perfor­ says Bustamante. Recreational Sports mances ... they're too demanding," "We have learned a lot about Center. CIJllllTB says Bustamante. movement and dance in the court," "Why do you have Where: Court 6, Recreational "There is a sense of innocence in states Bustamante. "We have to dance in a theater?" Sports Center, 2100 San Jacinto an unfamiliar space," says Busta­ learned how to walk on walls. questions Court 6 Blvd. mante, "to where you can learn That's something we can use in choreographer and Sharir Dance When: Friday and Saturday at 7 about the body and movement." later performances." Company co-artistic director Jose and 8:30 p.m., Sunday at 2 p.m. Bustamante hopes to discover When the dancers walk on the Luis Bustamante. Price: $12 general admission, $8 new movement for later use, glass walls, the transparency ere- Why indeed. In this culture, students and seniors "These performances give more dance is safely confined to theaters, and different creative options Please see Court, page 14 Dancers defying gravity in Court 6. Court: Site-specific performance, 'Court 6,'

a bold new effort for the Sharir Dance Company

Continued from page 13 ates a horizontal movement paral­ menting the elements of that S~arir Dance Company is a lel to the ground. As the perform­ space. company in residence for the Col­ ers defy gravity, walls become Bustamante· hopes to recreate the lege of Fine Arts. floors. feeling of watching a racquetball Bustamante' s fellow co-artistic As a consequence of 1960' s game from the inside rather than director Yakov Sharir, a tenured postmodernism, movement in from the outside looking in. To professor in the Department of dance has been redefined. "There help this aesthetic, Buastamente Theater And Dance, takes appren­ is not much sophistication in has collaborated with composer tices from the department. movement inside this culture," William Meadows and costume This year's apprentices include: says Bustamante. "It's all sports designer Kari Perkins. Marika Chandler, David Chao, and or nothing." Meadows has developed micro­ Terry Hardy. These three, still in The movement of Court 6 is in the phones to be placed on the walls their first season with the compa­ tradition of modern dance. "These and floors inside the court to cap­ ny, will perform in Court 6. days they call it New Dance," says ture the sounds of the dancers: Bustamante. their breathing, the squeaks of th~ir Court 6 is a mid-season perfor­ Bustamante would like to think Vans sneakers. mance for the Sharir Dance Com­ of dance as movement first. The Perkins has created unisex rac­ pany, which celebrates its 14th sea­ movements created in Court 6 bor­ quetball costumes that de-empha­ son. Seating is limited by the floor row the kinetics of racquetballs size gender and facilitate move­ plan of the Recreational Sports and racquetball players comple- ment in that environment. Center. • •

The Sharir Dance Company transforms an ordinary racquetball co~rt into an innovative performance sl>ace. tt N B Friday, February 21, 1997

7

the McCullough Theatre at 8 p.m .... City beat Zachary Scott has "Ruthless! The Musi­ Alternative-rock radio staple Better cal" at 8 p.m. Than Ezra returns to Liberty Lunch with Jane Jenson . ... Lone Star country Other theater hero Billie Joe Shaver is back in town Sharir Dance Company presents the with his band to play Antone's. Chris­ unusual "Court #6" at the University tine Albert's Boxcar opens .... A of Texas Recreation Sports Center at 7 younger, but nonetheless Texan, coun­ p.m .... The UT theater department try songwriter Bruce Robison cele­ opens Erik Ehn's new, innovative brates the release of his new CD drama "Wolf at the Door" in the Win­ "Wrapped" at Stubb's .... Riotous ship Drama Building at 8 p.m .... punks the New Bomb Turks of Colum­ "Death of a Salesman" is now at the bus, Ohio, return to Emo's in support Old Depot Stage in Round Rock at 8 of their Epitaph release, "Scared p.m .... Live Oak Theatre at the State Straight," with Sons of Hercules ...,. La has the spirited comedy "You Can't Zona Rosa welcomes back Cajun wild­ Take It With You" at 8 p.m .... "Petra's men Steve Riley & the Mamou Play­ Pecado" is showing at the Santa Cruz boys . ... Minneapolis songwriter Martin Center for Culture at 8 p.m. Zellar formerly of the Gear Daddies, plays the Cactus Cafe with Barbara K. At the movies .. . Local popsmiths the Sherldans cele­ Austin filmmaker Richard Lin­ brate their new "User Friendly" CD at klater's new one, "SubUrbla," is in wide the Electric Lounge opening for Sliver release today. ... Village Cinema Art is Jet . ... Veteran jazz pianist Jim McNeely showing Billy Bob Thornton's South­ joins the UT Jazz Orchestra at Bates ern-flavored, Oscar-contending drama Recital Hall at 8 p.m .... T.D. Bell and "Sling Blade." ... John Singleton's the Blues Speclallsts take part in the "Rosewood," about a black community Blues Family Tree Series at the Victory ravaged in 1923, also opens today. Grill. ... The correct listing for Wesley Pearson tonight is the VFW 8787 .... Best of the rest Lounge shows include Mr. Fabulous at the Ritz Lounge and the Recliners at Mexican decima balladeer Gulllermo Speakeasy. ... The Wannabes and Pe­ Velazquez is featured in the Nahualli glegasus rock the Hole in the Wall .... Festival at the Texas Union Ballroom Earthplg is at Flipnotics .... The Broken on the UT campus at 8 p.m .... The Spoke has honky-tonk by the Derallers. Austin Celtlc Association's benefit show with Ed Miiier, Two O'Clock Courage Tuneful stagings and more is at Waterloo Ice House at 8:30 p.m .... The Travis County Exposi­ Carol Chan­ Beloved Broadway star tion Center hosts the Mega-Buck Thun­ ning begins a five-show run of "Hello, der Bull Ride Championship at 8 p.m .... Dolly!" at the Paramount Theatre at 8 Esther's Follies has two zany shows at 8 p.m .... Huston-Tillotson College offers andlOp.m. a special gospel staging, "Precious - Chris Rlemenschnelder Lord," at the King-Seabrook Chapel at 8 p.m .... UT Opera Theatre presents the For more Best Bets, call Inside Line at 416-5700 Italian Baroque opera "L:Ormindo" in and enter category MORE (6673). E AUSTIN

SHARIR DANCE COMPANY breaks out of the dance studio with a new piece by Co-Artistic Di­ rector Jose Luis Bustamante set in a racquetball court. Bustamante, no stranger to site-specific work after his collaborations with Sally Jacques, has created Court #6 as a means of playing with , space and surfaces - such as glass walls - on which his dancers can move. Composer William Meadows, lighting designer Amarante Lucero, and costume designer Kari Perkins contribute to the piece. FNE PERFORMANCES ONLY! Feb 21-23, Fri & Sat, 7 & 8:30pm, Sun, 2pm, in Racquetball Court 6, Recreational Sports Center, 2100 San Jacinto, UT campus. Tickets: $12 ($8 seniors, students). 454-nXS.

February 21, 1997

Court #6, choreographed by Jose Luis Bustamante, will be presented by Sharlr Dance Company, Feb 21-23 in the Recreational Sports Center on the UT campus 12 THE DAIL\ TEXAN FRIDAY, FEBRUARY 28, 1997 FOCUS Andrea Werzner money. Bustamante said he saw the "The walls of the court acted as a third partner," Bustamante said. Daily Texan Staff possibility of creating a site-specific performance around the space in a Dancer Carolyn Pav!iksaid the expe­ ll eyes were on a-racquetball racquetball facility. rience was eye-opening for the per­ court at the UT Recreational Bustamante created the dance to formers as well as for the audience. A Center last weekend. But it offer patrons a view of the sport "We usually can't see the audi­ was the Sharir Dance Company. not from the inside out. ence," Pavlik said. "But we were close racquetball, that had people Both the sounds and motions of enough to look them in the eyes." enthralled. racquetball were mixed with dance The dancers maximized the 20- The.company performed Court steps during the performance. by-40 feet enclosure by using all of #6, a site-specific dance created A microphone was placed inside its surfaces. They suspended one around the game of racquetball. the court to capture the squeaking another against the plexiglass, The company is m its 14th year as and stomping sounds of the allowing walks and contortions the professional company-in-resi­ dancers' shoes against the court. along the walls. dence at the UT College of Fine. The dancers used the two solid Pavlik said the performance was Arts. The group was founded in 1983 by choreographer Yacov Sharir and is cur-· rently led by-co-artistic directors Sharir and Jose Luis Bustamante. The residency gives the use of university facilities to the company while bringing new styles of dance to Austin. "It adds prestige to the University tmfb because it links the University to the arts," said Carol Smith Adams, executive director of the.company. "And it raises interest in dance because a lot of sludents want to take classes w;ith the professionals."

Sharir. and Bustamante teach .THOMAS TERRY/Daily Texan Stal! dance classes at the University and Sharir also teaches a technology Company dancer Liza Travis rolls against the court's plexiglass wall during the performance. class called Virtual Reality Cyber­ space & The Arts. as a unit," Pavlik said. ficult but rewarding experience. and told me that the community Adams said the residency also Sharir selects the The company has been a spring- would stand behind it," Santos said. gives many benefits to the company, dancers to work as a board for · The Sharir Dance Company will which was selected by the National whole. Many compa­ many of its be featured at a benefit with the Endowment for the Arts as a partici­ ny members have dancer~ to ~ Houston Ballet and Ballet pant in its 1994 Advancement Pro­ attended his classes. venture mto , Austin April 11 and 12 at gram for "emerging organizations "Many of us have other cre­ the Paramount Theatre. - of artistic excellence." had him as a University ative outlets. The company will close out As part of the advancement pro­ professor," P&vlik said. Charles its season May 2-4 at the B. Iden gram, the company was one of 36 pro­ "He gets the opportuni­ Santos, man­ Payne Theatre on campus. grams across the country to receive a ty to see us develop as aging director The season finale will feature works $50,000 grant from the NEA. dancers right in front of of EOS Music. by former company dancer Andrea him, so he knows our was a compa­ "It's good for the company Beckham, Sharir, Bustamante and special because ·we are also associated with strengths and weak­ ny dancer guest artist Rina Schenfeld. Schenfeld UT and have ample practice space," nesses." will display her ability to Adams said. The company is THOMAS TERRY/Daily Texan Staff dance while maneuver­ The idea of practice space led to currently a mix of UT ing cloth, sticks, balls the site-specific performance on the Dancers Liza Travis, far left, David Chao, Marika Chandler and Luis Manuel undergraduates and and her own lwur. racquetball court last week~nd. Narvaez get a look at the audience during the Sharir Dance Company's perfor­ graduates, and pro­ Bu,tamante said the inspiration mance on a Recreational Sports Center racquetball court. fessionals. started the The company will celebrate for the performance came while Dancer Mari­ Austin Festival of Dance its 15th the anniversarv season with a working with a company in Ohio. walls an'd the two. plexiglass walls very physical and acrobatic in nature. ka Chandler, a junior in -., ..__~ six years ago as a benefit for retrospective performance of compa­ The company practiced in a racquet­ as floors and support during the "It's intense to be constantly in dance, said balancing college AIDS Services of Austin. ny works at McCullough Theatre ba 11 court because it lacked of performances. motion and moving together often courses and company work is a dif- Sharir "encouraged me to do it Nov.14-16. Austin American-~tatesman Aesthetic athletics •Racquetball court ing matter-of-factly somersault­ Dance review ed off walls, to the crowd's highlights beauty amazement. of strength in cated performance. After the opening hustle and The transparent walls created bustle, Bustamante offered a dancers' movements a unique perspective, like view­ shocking dynamic contrast: ing some rare species displayed slow-motion walks and simple BY SONDRA loMAX movements in unison. Tradi­ behind glass. Dressed in black­ tional groupings in this most un­ Special to the American-Statesman and-white padded bike shorts, with knee pads and black sneak­ traditional venue - after all the Squeaking and thuqding, ers, the performers punctuated careening, jumping and.'Jliding Sharir Dance Company bounced - had an astenishing effect of nonstop, sculptural movement beauty and serenity. off the walls Friday night in its with daredevil dives and rolls as first site-specific production. Co­ they slid, tumbled and collided. The musical accompaniment artistic director Jose Luis Bus­ Whether running freely or in­ ranged from David Lang to Per­ tamante chose a glass-enclosed tentionally squashed against the otin, with sound engineer racquetball court at the Univer­ glass, they moved with precision, William Meadows electronically sity of Texas' Recreational like well-trained athletes execut­ manipulating noises from the Sports Center to premiere ing drills. Bustamante created miked floor. Sounds of colliding "Court 6." abstract, angular movements, bodies and squeaking sneakers What might sound hokey or with one-armed handstands and were amplified, producing a larg­ claustrophobic - watching wall dives just two of the many er-than-life soundscape. dancers in a tight, enclosed court signature steps. Sometimes he Dance and sports are separat­ - was quite the opposite. The turned steps inside out, adding a ed by aesthetics; both make us dancers moved naturally across rough-and-tumble attitude well­ ponder the amazing human body the court's sleek, smooth sur­ suited to the racquetball setting. in motion. Bustamante pointed­ faces, the polished wooden floors Carolyn Pavlik flew through a ly focused on the similarities - and transparent front walls. frantic solo, arms and legs carv­ strong, gutsy moves exhibiting It was a beautiful dance space ing designs in the air. Strong physical prowess and practiced - open, light and airy - with duets and trios permeated the 35- control. Just as we admire ath­ bare walls begging to be trans­ minute dance, including one letes who make incredible plays, versed. Bustamante obliged, memorable grouping of Marika one must appreciate these ver­ with dancers walking and climb­ Chandler, Theresa Harding and satile, talented dancers, per­ ing the vertical surfaces. The re­ David Chao. Later, Luis Manuel forming as easily in a sports area sult was an engaging, sophisti- Narvaez, Liza Travis and Hard- as on a proscenium stage.

2.4 'F°"'Ef::>RvA'Ri IC\C\ 1- AP·~r\l·-l A._~82.ICA..N 'S-rklE"'SN~ 1927 + SERVING THE DANCE PROFESSION FOR 70 YEARS •

A G A % I N MARCH 1997 VOL LXXI NO. 3 SHARIR DANCE COMPANY MCCULLOUGH THEATRE, AUSTIN, TEXAS NOVEMBER 15-17, 1996 REVIEWED BY SONDRA LOMAX Sharir Dance Company founder and coartistic director Yacov Sharir leads a double life as choreographer and cyber­ space pioneer. His ongoing research in dance and new technologies includes computer-generated cyborgs which he manipulates through virtual space. To open his company's fourteenth season, Sharir featured some of his latest explo­ rations in Cyber Human Dances/Hollow Ground II, a blend of computerized ani­ mation and live dance. Choreographed by Sharir with Andrea Beckham, the work opens to sounds of Carolyn Pavlik sticking to a complex works by its focus on unifor­ vertical panel of Velcro strips. As she mity: Gender distinctions are irrelevant; slides down the grid, the scratchy, rip­ unison movements abound. The work is ping noises reverberate through the the­ beautifully designed, like finely etched ater. She jumps into the grid again and crystal. instantly sticks, like cooked spaghetti Company member Bryan Green's In flung onto a wall. It's a bizarre, funny the Gallery of the Soul provides imagery scenario of Velcro versus gravity. ranging from organic (a couple sleep­ Beckham rolls next, ripping and sticking ing) to surreal (the illusion of bodies loudly. Simultaneously, computerized floating above a bed). Green's clever video of a dancing silver cyborg figure dance, his first for the company, shows is projected on and above the perform­ an upright bed where he and Theresa ers. The dancers soon forsake the grid Hardy toss and turn, curl and uncurl in and ooze into variations of the cyborg' s imaginary slumber. The skewed perspec­ stilted gyrations, an eerie display of art tive offers a bird's-eye view of the sleep­ imitating technology. ing couple's dreams. Despite Sharir's well-documented The choreography and dancing by computer research, the heart and soul of this Austin-based company are top­ his choreography remains human bod­ notch: fresh, athletic, controlled, and ies in motion. His latest pure dance gutsy. Such quality productions have work, 2x5+, illustrates Sharir' s consider­ propelled the company into its current able talents. The dance seamlessly position as Texas's leading modern weaves unfolding arms and legs into a dance troupe, both in cyberspace and in rich tapestry of kinetic designs framed the real world. • by black and white costumes and Amarante L. Lucero's sophisticated light­ ing. Marika Chandler and David Chao's silky duet offers a microcosm of Sharir's skill in molding bodies through time and space. A movement feast, 2x5+ imbues intelligent, complex patterns with subtle emotion. Unending Rose, by coartistic director Jose Luis Bustamante, features androgy­ nous costuming (long-sleeved maroon tunics) and simple, clearly defined move­ ments. The dance is in contrast to Bustamante's usual dense and physically Helping to Create a More Informed Local Community ewts~

VOL. 32 NO. 8 2 SECTIONS A SERVICE OF THE JEWISH FEDERATION OF AUSTIN 11713 JOLLYVILLE RD. ADAR 1123-NISAN 23, 5757 APRIL 1997

Israeli Dancer Rina Schenfeld to perform at UT Rina Schenfeld, Israel's Grand Dame of Dance, will be performing with Sharir Dance Company on Friday through Sunday, May 2-4 at B. Iden Payne Theater on the UT campus. A former Martha Graham protege, she helped found the Batsheva Dance Co. where she also served as its princi­ pal dancer. She later formed the Rina Schenfeld Dance Theater and dance school. Her solo piece, Light, choreographed in 1993, is a lyrical journey which passes through various emotions before reaching an inner tranquility. Sunday's performance has been especially planned for families. Reduced price tickets are available for the Saturday evening and Sunday afternoon performances by calling the JCC at 331- 1144. General adult seating is$ l 0, and$ 6 for senior adults and students (elementary school through univer­ sity). The Jewish Outlook April 1997 37 vtA, Loc~J ~~~~-- ~ lsrael~ial guest artist · -- ... -~ . Sharir Dance to perform finale May 2-4 Sharir Dance Company's engagement in 1994. As a For SDC's season finale, 14thseasonfinaleMay2-4prom­ choreographer and dancer, Schenfeld will perform two pieces ises audiences an array of today's Schenfeld has developed a unique from her repertoire, "Azure and most exciting new dance chore­ style that has garnered her acclaim Shadow" and "Light," both in­ ography. Alongside the works of throughout Europe and the spired by her personal experiences during the Gulf War. SOC' s artistic co-directors Yacov United States. Former Sharir principal Sharir and Jose Luis Bustamante Performing solo, she manipu­ dancer Andrea Beckham is pre­ will be offerings from Rina lates a wide range of everyday senting "Feminist Doormat," a Schenfeld, one of Israel's most objects in a manner that takes the highly charged work for three heralded choreographers, and audience "into a rarefied dream women. First set on Sharir Dance guest artist Andrea Beckham. atmosphere, where the most pro­ Company in 1994, Beckham's Schenfeld, a Martha Graham saic objects become wondrous.," work is inspired by the writings of protege, dazzled Austin audiences wrote AnnaKisselgoff of The New Sheila Firestone and a sociologi­ with her premiere Texas York Times. cal experiment called "The Smile Boycott," which recorded people's reactions to unsmiling women. Intensely physical, "Feminist Doormat" deals with the issue of non-verbal expression and suppression of women's feelings and frustrations. Yacov Sharir's offering for Rina Schenfeld returns to Sharlr Dance Company. the season finale is a revival of "Margo's World," a collaboration Completing the season finale with visual artist Margo Sawyer is '1Jnending Rose," an enchanting and composer Russell Pinkston. group work choreographed by Sawyer.a UniversityofTexasfac­ Bustamante. Set to music by ultymember,hasconstructedlarge David Lang, it mesmerizes ·with aluminum sculptures which cre­ flowing choreographic patterns ate "Margo's World," and the en­ which captivated audiences at its trancing score is provided by November premiere. Friday and Pinkston, a world-renowned com­ Saturday performances are at poser and professor of electronic 8 p.m., while Sunday's will be music in the UT Music Depart­ at 2 p.in. ment Created originally as a quar­ General admission tickets are tet for four women, Sharir has $14, $9 for students and seniors, incorporated the entire company and are available at all UTTM in this new offering. TicketCenters or Charge-Ticket, 477-6060. For information on the dance company, contact Cindy Goldberger, 458-8158. ustin merican~tatesman .'.\ustin American-Statesman @ ENTERTAINMENT Tuesday, April 29, 1997 E3 Israeli artist closes Sharir season BY S ONDRA loMAX one sense it's about falling down Special to the American-Statesman and getting up - repeatedly - Modern dance company and how one meets adversity." For 14 years, the Sharir Dance Bustamante's "Unending Rose. " Company has brought the best of which premiered in November, new music and dance to Austin. offers variety of styles will be seen in an expanded ver· This weekend, the modern dance sion, including an added prologue troupe presents its 1996-97 season of light and shadow." and a new solo performed by the finale with the return of special Sharir Dance Company Joining Schenfeld's works on the choreographer. The dance involves guest artist Rina Schenfeld from mixed-bill program will be chore­ intricate flowing patterns set to Tel Aviv. When: 8 p.m. Friday and Saturday; ography by Sharir, co-artistic di­ music by David Lang. Schenfeld reigns as the undis­ 2 p.m. Sunday rector Jose Luis Bustamante and puted first lady of modern dance Where: B. Iden Payne Theatre former SDC principal dancer An­ Robotic light show in Israel. Her early years as prin­ Tickets: $9-$14 drea Beckham. The Sunday matinee is geared cipal dancer in the Batsheva Information: 471-1444 For his program offering, Sharir toward families and offers inter­ Dance Company won her inter­ has revived "Margo's World," a col­ change between artists and au­ national acclaim as an interpreter laborative work with visual artist dience. As part of the company's of dances by great choreogra­ Her company, Rina Schenfeld Margo Sawyer and composer Rus­ 14th Anniversary Sunday Series, phers such as Martha Graham, Dance Theatre, has been show­ sell Pinkston. Sawyer's aluminum the program's goal is to educate Jerome Robbins, Jose Limon and cased at the Theatre de la Ville in sculptures dominate the stage, young people about the creation John Cranko. She dazzled Austin Paris, the Helsinki Festival and serving as decor and inspiration and presentation of new dance. audiences with her 1994 Texas the Next Wave Festival at the for the choreography. For this special performance, debut. Brooklyn Academy of Music. "The structure and patterns of lighting designer Amarante Yacov Sharir, co-artistic direc­ Dance Magazine has featured Margo's sculptures are echoed in Lucero has created a state-of-the­ tor of the Sharir Dance Company, Schenfeld on its cover, and Israel the highly rhythmic and repetitive art robotic light show to welcome danced with Schenfeld for nine has showered her with artistic footwork of the dancers," Sharir the audience. Immediately fol­ years in the Batsheva Dance Com­ honors and awards. explained. His choreography in­ lowing the program, audience pany. He greatly respects Schen­ In Austin this weekend, Schen­ volves quick, complex footwork, members will be treated to a feld's choreography and perfor­ feld performs "Azure & Shadow" which challenges the dancers' co­ question-and-answer session mance skills. and "Light," two solo works in­ ordination and physical prowess. with the dancers and choreogra­ "Certain individuals are true spired by her personal experi­ Beckham's "Feminist Doormat" phers. performers and artists," Sharir ences during the 1991 Persian Gulf is a trio for three women set to The Sunday Series is part of the said. "Rina is one. Besides an in­ War. music by Arvo Part. Beckham's company's educational and com­ credible technical ability, she has "Light" is described as "a lyri­ highly-charged choreography and munity outreach programs, which been onstage for over 30 years. She cal journey" in which intense and non-stop physicality wowed audi­ has targeted selected youth service brings an amazing maturity and distorted lighting arrangements ences at its SDC premiere in 1994. organizations, groups and schools beauty to her work. Her dancing serve as the main axis for the "People tell me there is a lot of this year. is mesmerizing." dance. "Azure & Shadow" starkly suppressed anger in this piece," "We have to look at a broader translates Schenfeld's experiences Beckham said. "But it's not just picture than simply creating art," Dances from gulf war in a sealed room during the war. about women. It's about anyone Sharir said. "We must make an in­ Schenfeld founded her own "Rina's approach to stagecraft who's ever faced adversity in life; vestment in our children. They are troupe in 1978, which has brought and props is unique," Sharir said. whether dealing with terminal ill­ the future artists and arts patrons. Guest artist Rina Schenfeld, as seen in 'Light,' reigns as the undisputed her accolades worldwide as a "I admire her ingenuity and ness, humiliation in the workplace We have to help nourish and edu­ first lady of modem dance in Israel, where she has her own dance studio. choreographer and solo performer. meticulousness, such as her use or being victimized by crime. In cate the next generation." 1927 • SERVING THE DANCE PROFESSION FOR 70 YEARS • 1997 TEXAS Austin Sharir Dance Co., May 2-4, B. Iden Payne Theater, Univ. ofTexas, (512) 471-1444. Ballet Austin, May 9- 10, Bass Concert Hall, Univ. of Texas, (512) 471-1444.

DANCE MAGAZINE May 1997

'M A ·G A z I N E ~r.T ARTS & ENTERTAINMENT MAY l, 1997 • THE TEXAS TRIANGLE. 22 Gulf War. The stark "Azure and Shadow" There are also three other works on Sharir Dance Co. Welcomes is about her experience of confinement in the program for Sharir's season finale. a sealed room during the war. "Light," set Andrea Beckham's "Feminist Doormat," Renowned Israeli Choreographer to a 1948 composition by John Cage, is a a piece for three women, has to do with the suppression of women's feelings and Season Finale Features the Work Of Rina Schenfeld frustrations. Yacov Sharir's "Margo's World" is a collaboration with visual By Sean Moynihan choreographic style is a mixture of the artist Margo Sawyer (she created large, TRIANGLE Staff objective and the expressive. Part of it is aluminum structures for it) and compos­ based on the Bauhaus tradition, with its er Russell Pinkston, a professor of elec­ AUSTIN - Israel's Rina Schenfeld, one of machinelike choreography and construe- · tronic music at U.T. Originally a piece for the world's leading interpreters of the tive character of form, space and time. 4 women, "Margo's World" will be per­ work of choreographer Martha Graham, Another part of her style has to do with formed this time by the entire company, will perform as the special guest artist the influence of Martha Graham, which is And Jose Luis Bustamante's "Unending this weekend for the final program of more narrative. When she established her Rose" is a mesmerizing work of flowing Sharir Dance Company's 1996-1997 sea­ own company, Schenfeld began to create patterns that premiered in November and son. works that incorporate the Bauhaus and was featured as part of the Austin Festival Clive Barnes of The New York Times Graham influences, but is less analytic of Dance in March. called, Schenfeld "One of the most sump­ than Bauhaus and more versatile than the The performances are May 2 and 3 at tuous modem dancers of her day." She straight narrative of Martha Graham. 8 p.m. and May 4 at 2 p.m. at U.T.'s B. studied dance at Julliard and the Martha Schenfeld dances with a range of Iden Payne Theatre (at 23rd and San Graham School of Contemporary Dance physical objects-thread, sticks, poles, Jacinto). Tickets are $9 and $14. To find and, in 1963, she helped found Batsheva her hair, fabrics-but she doesn't allow out more call 512-471-1444. Dance Company in Israel and . was its the props to become the entire focus of ,)1<. principal dancer for 15 years. After leav­ her work. Her choreography is noted ing Batsheva in the late 1970s, Schenfeld more for its emotion and feeling than for established the Rina Schenfeld Dance the objects she uses. Anna Kisselgoff, Theater to give freedom to her own way also in The New York Times, wrote "Miss of dance and expression and to try out Schenfeld takes us into a rarefied dream new material in a way that she didn't find atmosphere where the most prosaic possible at a repe,rtory company. objects become wondrous." Rina Schenfeld Schenfeld is well"known internation­ While in Austin, Schenfeld will per­ lyrical journey in which intense and dis­ ally for her meditative, intensely personal form two pieces, both of which are based torted lighting arrangements serve as the and sometimes enigmatic work. Her on her experiences during the Persian main axis for the dance. '9lllf THE DAILY TEXAN

Vol. 96, No. 144 3 Sections The student newspaper of The University of Texas at Austin Thursday, May 1, 1997 25~

24THE DAILY TEXAN THURSDAY, MAY 1, 1997 ENTERTAINMENT Sharir ends season 14 with surge of original works SERGIO CHAPA Daily Texan Staff "Sharir Dance Company produces original choreographic works in Austin," says Sharir Dance Company executive director Carol THEATER Adams. Original indeed. Sharir _,~ Dance Company closes a ~ . its 14th season by revisit- ·~ · ing five works in modern "' dance from four choreog- 1:.====ll raphers. For the choreog­ raphers, each piece is an original inter­ pretation of the world around them. No piece is ever final. "Sometimes you want to retouch the work," explains Sharir Dance Compa­ ny founder and co-artistic director Yacov Sharir. "As an artist you have grown, the audience as well. Advances (in technology) and new peopJe make you look at a piece again." For Sharir, there has never been a shortage of artistic collaborators and talent. The performances this weekend feature the work of longtime friends and students. Jose Luis Bustamante For Sharir Dance Company co-artis­ Sharir dancers will be performing Unending Rose, above, and Margo's World, right tic director Jose Luis Bustamante, the times transitions can be abrupt or sub­ weekend performances allow him to, tle or no! exist at all. Unending Rose "clarify, expand, and enrich" his piece SHARIR DANCE COMPANY uses more abrupt transitions. One sec­ Where: B. Iden Payne Theatre, F. Loren Unending Rose, which was debuted at tion ends and another begins." Winship Drama Building the 1997 Austin Festival Of Dance. Andrea Beckham Rose is a piece where Bustamante When Andrea Beckham first came to When: Fri. and Sat., 8 p.m., Sun., 2 p.m. examines a complicated aspect of UT on a Presidential Scholarship, she Price: $14 general, $9 students nature that is often taken for granted: a had no idea that she would become a flower in bloom. dancer for Sharir, much less produce ·Bustamante has added a solo and crim­ her own choreographic works. apprentice. If anything, I got a well­ son fabric to the piece. U11e11di11g Rose "I found her in a non-majors dance rounded education." now consists of three sections: an ensem­ class," says Sharir. "She was weU-trained Beckham performed in Sharir' s pre­ ble using the fabric creating human in ballet but not in modern dance." sentation of Cyber-Huma11s and Dance at petals, a solo featuring Bustamante and Sharir saw potential and asked her to this year's SXSW Multimedia Confer­ another ensemble without the fabric. join his dance company as an apprentice. ence. Beckham will present Feminist To update U11endi11g Rose, Busta­ "One of his principal dancers quit," mante redid the transitions. "Some- says Beckham. "So I never had to Please see Sharir, page 23 Rina Schenfeld perlormes a scene from Light, a work she choreographed. Sharir : Continued from page 24 · Doormat this weekend and another interpreters of Graham," says : original work /11 The Forest in two Sharir. · weeks. "I rebelled against Graham when Feminist Doormat is a piece about I started my solo career," says · human adversity. Beckham uses Schenfeld. "But she is still a part of : failing down and getting up as a me. She's my spiritual mother, she : choreographic device. The piece is in my blood." · has three women: Beckham and Yacov Sharir : ,Sharir Company dancers Li za In Margo's World , Yacov Sharir ·Travis and Carolyn Pavlik crea ted a piece based on his inte r­ Doormat is a piece based on a pretation of the sculpture of Margo quote Beckham read from author Sawyer, a UT professor of fin e arts. Rebecca West, "I don't know what "Our collaboration bega n eight a feminist is, exactly, but that's years ago," recalls Sharir. "It began what they call me. I try to distin­ when three disciplines got togeth­ guish myself from a doormat." er: dance, music, and art." Rina Schenfeld Margo's World is a collaborative "In the Gulf War we had to hide effort with Sawyer and Ru ssell in shelters," says Israeli choreogra­ Pinkston, a UT music professor. "pher and solo artist Rina Schenfeld. This interdisciplinary effort fea­ /\s Schenfeld talks about how they tures Sawyer's sculptures, . stocked their shelter with provi­ Pinkston's music· and Sharir's per­ s ions and sealed the room with formers. plastic, her husband shakes his "The music from Margo's World head, laughing a bit. is taken from a trip to Enchanted "He was not afraid," says Schen­ Rock," says Pinkston. "Soui1d s feld. "He refused to wear his mask. " were taken from granite and grav­ The end result of her ex periences el, which has a musical quality-it in the Gulf War was the piece is porous and resonant. 1t seemed Awre & Shadow. Azure & Shadow appropriate because Margo's recreates the room were her family sc ulptures are organic, made from took shelter from Scud missiles. rock." ' For the Sharir performance For Pinkston and Sharir the Schenfeld will only use two sec- mu.Sica} score must not overpower . ~i ons . from her pe rformance which the scene. "It's not a questi on of in its entirety could last a whole volume," says Pinkston. "The most evening. In one section, Fliglzt, important thread is the visual ·Schenfeld uses a lamp to create thread ." · larger-than-life shadows that soar. Amarante Lucero Awre & Shadow's action centers The Sunday performance will around a table and cloth lying on . feature the intelli gent lighting of the ground. Amarante Lu cero. "The technology Schenfeld's second piece, Light, has been with us for a long time," uses opposing lights to make three says Lucero. "We are ju s t now dancers from one, ·Rina and her using it in the performing arts." · two shadows. The intelligent lights, donated by "I am in my third phase as a solo High En d Systems of Austin, move artist," says Schenfeld. "I started on an X-Y basis. Gobos, patterns off with geometrical pieces - very ·etched on glass by lithography, ;·Bauhaus. My next phase was create a wide range of colors and ·:nature, using sticks, leaves and combinations. The lights have a I water. Now I use light." wider range of movement and ; Schenfeld began her career with effects. There are 22 va riables in "Martha Graham in the Bat-Cheva programming the lights, and each ; Dance Company, where she and will be used in the performance. .Sharir met. "The lights reveal, arti cu late the "Rina is a one of the greatest dance," says Lucero. '. THE TEXAS T;;1ANGLE . MAY 8, 1997 DANCE

ther some of same ideas that that deep, rosy completely involved with her surroundings bathysphere into a gelatinous atmosphere Unending hue brought to mind, notably passion and and the everyday objects that occupy her that looked like the inside of a lava lamp. As emotion. Then, in the final portion of the life-from the leaves on the ground to the they broke free from the murk, they moved race piece, set to music by David Lang, the com­ hair on her head-resulted in a calming faster. Russell Pinkston's computer generat­ pany, now dressed in tunics that same deep, effect that seemed to hypnotize the whole ed score for the piece were the sounds of a By Sean Moynihan dark color-like they were now actually, audience. It was mesmerizing to the spirit liquid otherworld. Triangle Staff physically the cloth- together mimicked and gave credence to the belief that the more Beckham's "Feminist Doormat" was a the folds and the flowing waves of the fabric light you let into your life, the better your piece for three women involved in a struggle For anyone that's not yet aware that as one interconnectedness in which each journey will be. against being consistently held back and Austin has a lot of amazing dance talent dancer's individual pulse or tum controlled Yacov Sharir's "Margo's World" was an walked all over. Powerfully, they resisted, packed into its community of local compa- and was controlled by every other similar eerie piece in which the dancers were objects squirmed, and fought 1gainst unseen forces nies, take note: it's time to start paying clos- action from each dancer. fu this last part of in a weird, liquid environment. Among rising that would rather h? 1e them be silent and er attention. the piece, the dancers became a unified organ and suspending surreal sculptures (by Margo capitulate. As the~ struggled individually Some of the best work comes from Sharir in which each of them depended on the Sawyer), they were colorful particles that they began to realize the greater potential of Dance Company, a modem troupe that just strength of the other for its sustenance and slowly rose from the depths of a murky their ~ollective strength. 0 -· . __ completed its fourteenth performance season survival. By giving up fears of the risks of with a wonderful finale at the B. Iden Payne interdependence and the weaknesses it might Theater at the University of Texas. The p:o- suggest, the dancers became a strong core of gram featured individual works by Sham's life-giving energy and beauty. artistic co-directors Yacov Sharir and Jose The featured works by Luis Bustamante, a piece by Schenfeld were "Azure and former Sharir principal Shadow/Winter 1991," a very Andrea Beckham and two personal, emotional piece extremely captivating works based on her experience dur- by guest artist Rina Schenfeld ing the Gulf War, and "Light," of Israel. based on elemental concepts The performance began from fudia about life and some with Bustamante's of the things that all people "Unending Rose," a beautiful- deal with in their individual ly organic and fluid piece in journeys. three segments. fu the first, set Rina Schenfeld "Light'' Set on an empty stage, to music by Eric Satie, the six "Azure and Shadow" dancers each held part of a large, rose-col- described the emotions of a woman deeply ored cloth. The deepness and darkness of the affected by something over which she has no cloth's color had a warm intensity that sug- control. Through repetitive movements rep- gested life-sustaining concepts like love and resenting fear, hope, sadness, joy and all the passion and life-giving things like the heart other opposing emotions that war conjures and the blood it pumps around our bodi~s. up, Schenfeld showed what it's like to be As the dancers folded and were enfolded m shut off from awareness and control, to be the cloth, their involvement with it pointed ridden with anxiety, scared, uncertain and- out the risks of getting enveloped by it and ultimately-relieved. The piece was an losing some control over it. The dancers extremely moving account of what war does folded it up and the segment ended with to a mother of soldiers. them in control of the cloth and those things Schenfeld's whimsical and visually it might represent. Following this segment enchanting "Light" was the most delightful was an interlude in which Bustamante piece of the evening. Seeing someone so danced an expressive solo that suggested fur- Emerging from the 'Forest'

Bv SoNDRA l.DMAX Special to the American-Statesman Choreographer Dance review Creating an imaginative envi­ shows strength ronment of whimsical tree sculp­ laides, with her strong, sharp at­ tures, Andrea Beckham pre­ in her premiere tack. Both women were featured miered her first choreographic in several sections. production, "In the Forest," be­ Some of the best dancing was fore a packed house this weekend performed by the choreographer, at Public Domain Theatre. including her wild, unfettered gy­ "In the Forest" featured 12 rations in "Another Way of dance vignettes, well-performed Telling," a duet she performed by a 14-member cast. The text­ with Christopher Boyd. In this un­ based dances, which varied in usual and highly stylized dance, choreographic impact, were Beckham and Boyd acted like an­ characterized by curving, liquid imals in a mating ritual. Beckham movements that often sent per­ hovered and leapt over Boyd, who formers melting onto the floor. slowly and carefully crawled The prevailing tone was light across the floor in pursuit. and playful, a departure from Beckham is a versatile and dy­ Beckham's usual serious and namic performer, whose flowing dark works. motions and control mask her Laura Agnew's appearance as tensile strength. She performed a wandering, one-shoed traveler in various vignettes, but her idio­ provided a partial unifying syncratic movements blended thread for the program, as did best when she danced with Liza John Christensen's ever-chang­ Travis and Andee Scott in "After ing tree sculptures. The gray the Deluge." This haunting trio trees, which expanded horizon­ also featured Agnew onstage tally, accordion-style, were used with a rain stick, which provid­ alternately as decor and pup­ ed eerie accompanimen,t. pets. But no one element suc­ Terri St. Amauld The program combined text cessfully pulled the vignettes Andrea Beckham, on kRee, pre­ and dance, theater and live into a cohesive whole, leaving miered her first choreowaphic pro­ music. Beckham utilized the the dances isolated, like separate duction this weekend. Laura AfreN many talents of her performers, colored beads waiting to be is also in the work 'In the Forest.' such as Ryah Christensen, who strung into a necklace. changed from dancer to singer, Kate Warren and Timothy ing choreography. when she appeared with guitar Harling danced the strongest vi­ One of the show's strengths was to belt a few stanzas of "Ring of gnette, "The Door That Is Not A the strong cast. Beckham skill­ Fire" to the audience's delight. Door." A simple door frame dom­ fully blended experienced pros "In the Forest" is a milestone inated the stage, providing focus and emerging artists into a tight in Beckham's career and a re­ and ambience for the stark, mov­ ensemble. Two younger dancers spectable showing for the emerg­ ing love duet. Harling and War­ caught my eye: Adrienne Longe­ ing choreographer. Expect more ren's presence and technique necker, with her relaxed, silky works from her in the months Austin American-rStatesman complemented Beckham's flow- movements, and Nicole Nico- ahead. E6 Monday, May 19, 1997