38 • Exhibitionism 81 • Arts Listings nourish our bodies in diverse ways. When an The International Movement ofSharir Dance Company SDC brings to this community a Rina Schenfeld Going the Distance by Robert Faires t•s a long way from Israel to Austin," says Rina Schenfeld, and she should know. The accomplished choreographer and dancer, who makes her home in Tel Aviv, has just made the journey from the former to the latter, for the first time flying here directly from Israel instead of breaking up the trip with a stop in New York City. Schenfeld had been concerned about that direct route, fearing that the trip's length would be so wearing on her that she would find it difficult to prepare for herperformp.nce this weekend in the final program of Sharir Dance Company's 14th season. As it turned out, fortunately, she suffered no ill effects from the journey. Still, that doesn't diminish the distance between the two locations, a distance that has more "than one meaning when considering the current state of the Sharir company. This year has seen Yacov Sharir and his dance troupe performing away more than at home in the UT Performing Arts Center's complex of theatres. The Sharir Dance Company (SDC) opened the season in the PAC's McCullough Theatre and is closing it around the comer and down the street in the B. Iden Payne Theatre, but for the second program -the premiere of a new work by co-Artistic Director Jose Lµis Bustamante -the company leaped into a new and refreshingly different venue: a Belmont Hall racquetball court. Then, of course, SDC made its regular appearance in the annual Austin Festival of Dance over at the Paramount Theatre. But more significant are a couple oflonger excursions that the company made: one to Rotterdam, The Netherlands, and another to Tel Aviv, Israel. The members of the company have been acquiring plenty of personal The distance between Israel experience logging those intercontinental miles of which Schenfeld speaks. and Austin has more than In September of 1996, SDC traveled to Rotterdam for the Future Moves Festival, a week- one meaning when long symposium in which artists and technicians from the U.S.; Canada, Great Britain, Germany, Israel, and The Netherlands convened to share considering the current state their knowledge and achievements in dance using new technologies. There, the company pre of the Sharir company. sen~d Hollow Ground/Cyborg Dances, a piece by Yacov Sharir combining three-dimensional animation, digitized video, and live human performers, with Sharir also making presentations about his work utilizing computers and choreography. Less than a month after Future Moves, SDC was in Tel Aviv, taking part in the Suzanne Dellal International Dance Competition. This past year, this annual celebration of dance featured pieces by 13 choreographers from nine countries across the globe, of which SDC's Bustamante was one. The company performed his Dervishing, a dance inspired by the whirling dervishes of the Melevi order. That SDC made two such ventures onto the world stage in such a brief period of time is one indication of the level this Austin company has reached in the global dance community. Ofcourse, the international presence achieved by SDC has not come overnight. In the arena of dance utilizing technology, Yacov Sharir has long been on the vanguard. For several years, he's been in vestigating the possibili-..,,.,,,,,. ties of choreography created Going back further, there is Sharir's history in the within a computer, using animated human figBatsheva Dance Company, a world-class troupe ures and digitized video to generate movement which Schenfeld helped found and in which she and transferring that movement from cyberspace was a-principal dancer for 15 years. Sharir danced to the real world, sometimes projecting it onto with Batsheva for nine years, during which he screens, sometimes setting it on human dancers, received a strong grounding in what constitutes a and sometimes, as with the piece presented in dance company of global capabilities. Rotterdam, doing both, creating a sort of science· In creating his own company 15 years ago, fiction duet between flesh and electronic dancSharir set his sights on that level. "It was always ers. His pioneering efforts in this area have earned an aim of the company to get to a level of national Sharir invitations to both national and internaand international quality," he acknowledges. It's tional arts conferences since 1993. And both he a valuable goal, not simply for the widespread and Bustamante have had their work featured in recognition it delivers hut for the creative, well, the Suzanne Dellal Competition before. In 1992, nutrition it provides. Art feeds the spirit, and each presented a piece with the SDC: The Egg by different kinds of art can nourish the spirit in Sharir and Sedition, Seduction, by Bustamante. diverse ways, just as different kinds of food -a creator whose decades of experience and artistic exploration have cultivated an art of crystalline complexity and deep poetry-the experience can be uncommonly enriching for both artists and audiences. "When you bring the best artists and expose the audience to the best artists, they will expect that level of work from the local artists," Sharir insists. Furthermore, the local artists will be inspired to achieve that degree of excellence they've seen in the best, in part to in~eract with those artists at the height of the craft. "To get to that level," says Sharir, "in order to exchange ideas and bring that mutual food to each other. .. it's like feeding each other at the very highest level." In her simple, elegant way, Schenfeld makes the same observation: "What's enjoyable in traveling is a change in information. You get something out of meeting other people, other audiences. It's very good for you." · Yacov Sharir is proud of the distance his company has traveled in the past 14 seasons. Though he is rather matter-of-fact when describing the "increase in curiosity about . and demand for our work," you canJ detect an underlying tone of gratification. It's more evident when he is asked to assess the level of the company right now, and he speaks confidently of "leading the field" in the exploration of new technology in dance, of seeing the work of his peers at these far-flung forums such as Future Moves and realizing that SDC is "ahead of the pack." "As far as new dance," he says plainly, "I feel we have reached the national level After the Austin Festival of Dance, I got a lot of comments from people about hO\ good our company looked among the nationa1 companies that performed. And these were comments from dancers from New York and San Francisco and so on. It's very good to interact on that level, I feel that it's important for us." When pressed to describe how he feels hearing such praise, Sharir admits, "It feels good. Peer review is ·the best review you can get." And yet, as if that mild eXpression of satisfaction were some dangerous sign of complacency, this choreographer quickly adds that his company has not arrived at some imagined destina-· tionofsuccess. "It'snotaplacewehavereached," he insists. "It's a place we have to reach for every day. You can't take it for granted. You can't say, 'Today we had a great show, so tomorrow we're going to have a great show.' Every day you start 'from zero." Itis a long way from Israel to Austin, and Yacov Sharir knows it too well. But Sharir Dance Company is proving it can travel that distance, even if it means making the trip every day. • Sharir Dance Company, with special guest Rina Schenfeld, will peiform May 2-4, Fri & Sat, Bpm, Sun, 2pm, in the B. Iden Payne Theatre on _the UT campus. Call 471-1444. • J David Chao, from left, Marika Chandler, Carolyn Pavlik and Liza Travis rehearse for 1Frederican,' one of two dances Jose Luis Bustamante will premiere at McCullough Theatre on Friday. F ifteen years and counting. Not bad for an avant-garde modern dance troupe ensconced deep in the heart of Texas. While similar dance companies are barely surviving in cities such as New York and San Francisco, the Sharir Dance Company forges ahead. In September and October, the company opened its 15th anniversary season with performances in Greece, Portugal and Sweden. Riding high from its European successes albeit jet-lagged-artistic co-directors Yacov Sharir and Jose Luis Bustamante are preparing retrospective productions for the troupe's home season. An all-Bustamante program opens this weekend, and an all- by sondra lomax Sharir performance is scheduled for May. special to the american-Bustamante will prestatesman miere two dances, "Frederican" and "Songs of the Sea," at McCullough Theatre Friday night. Joining the premieres are three of his repertory favorites: "Memory of Absence," a solo he performs on an electronically sensored floor; "Henrietta and Alexandra," a duet for Sharir dancers Carolyn Pavlik and Marika Chandler; and ''Migrating Weights," a fun, energetic group dance where performers dribble each other like basketballs, among other assorted physical antics. Sharir Dance Company has built an eclectic repertoire in 15 years and established its reputation as a cutting-edge dance company. Despite recent financial difficulties brought , about by funding cuts from the National Endowment for the Arts, the company is secure in its position as Texas' leading professional modern dance troupe. "I feel a great sense of accomplishment," said Sharir, who founded the company in 1982. "And we are survivors. We always tackle inevitable changes with vigorous en- Sharir Dance Company's 1 Jose Luis Bustamante: Past & Present1 When: 8 p.m. Friday and Saturday; 2 p.m. Sunday Where: McCullough Theatre How much: $16; $9 students and se niors (children $5 on Sunday only) Information: 471-1444 or 477-6060 ergy. We have a strong board and good ad ministration. I feel we've survived because people are interested in our art and audi ences have kept coming back for 15 years." Careful planning and artistic integrity are also key to the company's success. For the first decade, the troupe often shared its stage, sponsoring choreographers and companies ranging from Lewitzky Dance Company to Hartford Ballet to Deborah Hay. Artistically, Sharir pushed the edge of the creative envelope. His choreography was fearless, inventive. The early years brought choreographic home runs and strikeouts, · the artistic growmg pains of any emerging dance troupe. The quality kept increasing, slowly at first, then by leaps and bounds. Sharir stayed on track, secure in the beliefthat art is a process: One must continuously create to move forward. So he remained in the studio, constantly exploring ways of moving human bodies through time and space and spurring his dancers toward new degrees of excellence. The company solidified artistically in the early '90s. Veteran dancers Andrea Beckham, Carolyn Pavlik and Bustamante were entering their prime. Sharir's choreography had gained more physicality and sophistication, and Bustamante, the troupe's resident Sharir choreographer offers two . premieres with repertory favorites choreographer since 1987, had developed an impressive repertoire of his own works. Sharir had realized Bustamante's choreographic talents soon after the young dancer joined his company in 1983, and beginning in 1985, Bustamante works became a staple of Sharir Dance Company productions. "Both as a choreographer and performer, Jose had tremendous artistic generosity and potential that I thought must be developed," Sharir said. "We've had a successful working relationship for 13 years." The prolific creativity that has earmarked the past few years has produced tremendous results but taken its toll on both choreographers' time and energy. "The quality of the choreography is my No. 1 priority, but time for research is also crucial. Dividing the season offers time for . reflection, analysis and research," Sharir said. Bustamante welcomes the opportunity to showcase his dances and agrees with Sharir about the time needed for research. "It means a lot to me that it's the 15th anniversary," Bustamante said. "Up to now, I've created lots of works and helped to build the company. An artist needs to keep produdng but also needs time to sit back and reflect, think about the next project." . Bustamante will have to wait until spring for a break. In addition to this weekend's production, he will be presenting dances for December's "Bagnolet International Choreographers' Gathering" and preparing an encore performance of his highly popular "Court 6" for February. "This year we're reflecting on our past successes while moving deliberately toward the future," Sharir said. "The financial challenges are still there but so are our supporters. We're looking ahead for the next 10 years." v 1 e r theater, comedy, dance, classical music and the visual arts 16 THE DAILY TEXAN THURSDAY, FEBRUARY 19, 1998 ENTERTAINMENT Performance artists bounce off the walls Sergio Chapa Daily Texan Staff In the opinion of Sharir Dance Company's Jose Luis Bustamante, dance should not be confined to a theater. This weekend, Bustamante revisits the UT Recreational Sports Center for Court 6, a site-specific work in which walls become floors and floors become walls. This non-traditional performance affords Bustamante the opportunity to explore new choreographic territory, adding new movement to his repertoire. Bustamante adds another new dimension to his work by challenging the laws of gravity. A spectator's delight, Court 6 showcases Sharir Dance Company performers walking on the glass walls of Championship Racquetball Court #6 of the UT Recreational Sports Center. Athletically daring and innovative, Court 6 is a quick-paced and stunning demonstration of the adaptability of dance and the performing arts. "In contemporary society dance is safely confined to theaters, clubs and bars," Bustamante said.. "There is not a large degree of sophistication of movement inside this culture." Bustamante said a high percentage of that kinetic energy is generated by American sport. Court 6 capitalizes on America's fascination with athleticism while breaking away from the more traditional and socially constructed domains of dance. Court 6 is a novel experience in dance because it's site-specific, something that is relatively uncommon in the live arts. "There aren't too many people involved in site-specific performances," said Bustamante. "[The performances] are too demanding," Despite demands·on the choreographer and his or her performers, Bustamante said site-specific perfor.., mances can serve important functions in the development of a choreographer's career. "There is a sense of innocence in an unfamiliar space to where you can learn about the body and movement," said Bustamante. "These performances give us more creative opportunities down the road." For Bustamante, breaking the laws of physics in the name of the performing arts is nothing new. In his previo_us works, Migrating Weights and Henrietta and Alexandra, Bustamante demonstrated his choreographical prowess, asking his performers to defy gravity. The key to breaking from the ·. t ; .. ~ , ' . .. .·~·-' ..... ... ~ f ··~ ·Sharir Dance Company choreographer Jose Luis Bustamante takes his performance art to the court, combining dance and sport in a flurry of kinetic flesh. earth's pull is to fully utilize momentum that has been builtup and then to shift one's center of gravity in the correct direction. · In this way Sharir Dance Company's Bryan Green, Marika Chandler, Carolyn Pavlik, Luis Navarez, David Chao, Liza Travis and Terry Harding amaze the audience with their exploration of three-dimensional space. In the past Bustamante has collaborated with Austin-based choreographer Sally Jacques to produce 611: Beds at the Capitol and another site-specific work in an empty swimming pool along the banks of Town Lake at Laguna Gloria Amphitheatre. For Court 6, Bustamante's most important collaborators include Austin-based composer William Meadows and costume designer Kari Perkins. Meadows developed microphones that will be placed inside the racquetball court to capture every sound made by the dancers. These microphones pick up every breath and every squeak of the performers' sneakers. These state-of-the-art listening devices dissolve the great glass wall between audience and performer. If audience members closed their eyes, it would feel as if they were inside the racquetball court with the performers. Perkins' unisex costumes deemphasize gender and facilitate a wide range of movement within the context of that particular space. Their sneakers give the performers the extra traction they need to pull themselves up the wall. Court 6 is a mid-season performance for Sharir Dance Company, which is celebrating its 15th anniversary season. Bustamante originally presented the work in the company's 1996-1997 season. It was brought back by popular demand. dance COURT6 When: Thursday through Sunday Starring: Sharir Dance Company Choreographer: Jose Luis Bustamante Playing at: Court #6, UT Recreational Sports · Center, 2100 San Jacinto Blvd. Tickets: $12 General Admission, $8 Students and seniors, from 454-TIXS THE RETURN MIGHTY ZOR ne atch at. 'Court 6' "Court 6,' by Sharir Dance Company When: 7:30 tonight; 7:30 and 9 p.m. Friday and Saturday; 2 p.m. Sunday Where: University of Texas Recreational Sports Center, 2100 San Jacinto Blvd. How much: $12 general admission, $8 students and seniors Info: 454-TIXS The Sharir Dance Company will present a rerun of the popular 'Court 6,' this weekend. Dancers are, from left, Bryan Green, Luis Manuel Narvaez, David Chao, Carolyn Pavlik, Marika Chandler and Terry Hardy. Sharir Dance reprises its stunning performance at racquetball venue with audience up-close and personal Last year, the internationally acclaimed Sharir Dance Company presented its first site-specific piece, "Court 6." The 30-minute dance wowed sold-out crowds with its unusual setting in racquetball court No. 6 ofUT's new Recreational Sports Center. It also appealed to audiences for its athleticism, its unique use of by beth kerr S?und (including mu-special to the sic, sneaker squ~aksand body slams mto american the heavy glass court statesman walls) and for the amazing way the company and choreographer Jose Luis Bustamante used the space to dance hauntingly drawnout struggles countered with fast, aggressive splashes of movement. The reaction was unprecedented, yet many potential audience members missed seeing any ofthe four 1997 showings because of limited seating. So, as a part of its celebration of 15 years of modern dancing for Austin, for Texas and for the world, the Sharir Dance Company will present a rerun of the popular piece this weekend. The company has dedicated this season to presenting a retrospective of acclaimed works such as "Court 6." The choreographer says the dance is now familiar, making the energy of rehearsals different. The dancers are in less of an exploring mode and are focusing more on getting the movement back into their bodies. Also, repeating the performance with the same cast, the same music .designer (William Meadows) and the same costume de-· signer (Kari Perkins) has allowed time to refme and tighten this precise dance. The company must also concentrate on ·maintaining the spectacular raw energy of the piece. In a recent interview, Bustamante said, "A lot of effort went into creating this one-of-a-kind piece, and it is good to be able to perform it again for people who were not able to get in to see it last year." Unlike other Sharir dance works, this one can't be presented on tour. Bustamante points out that it would be difficult (ifnot impossible) to find in another city a racquetball court with two glass walls, allowing for optimum viewing of the work as it was originally staged. Then, ofcourse, tbere are the logistical problems of working with various administrative groups in using the space, allowing for an audience and, most importantly, setting up rehearsal times in that space. Sharir dancers have been rehearsing for this performance in other racquetball courts in Bellmont Hall on the UT campus because it cannot even be rehearsed without the four walls. The dancers use the walls to balance the amazing lifts they execute against them or to support their wild, wallwalking sequences. Rehearsing in a standardized space also helps the dancers feel the dimensions ofthe room. · Another aspect of using such a unique setting for this dance is the intimacy the audience is allowed with the dancers. As there are no formal wings, the dancers cannot "hide" from · the audience as they wait for their next entrance. They are either watching their fellow dancers with the audience, discreetly altering their costumes for the next sequence or they are in the court, tumbling, lifting, sprinting or rolling on the floor. The majority ofthe audience is seated very close to one or the other ofthe glass walls, anticipating the next body to be pressed against the other side of it or leaning out to catch the action in an opposite corner. The angle ofviewing presents a much different dance for each audience member. Dancer Carolyn Pavlik said in an interview last year that "Court 6" allowed them to look the audiences in the ey~, whereas they rarely can even see them. The precisionin Bustamante's use ofthe seemingly too-small space develops a fme layering of the movement, which is not always possible in a bigger proscenium stage setting. Most of the audience can see the reactions ofother audience members seated across the court. Being that close allows viewers to focus in on one small movement or draw back and take in the whole scene as they choose. This is the joy of a site-specific dance -to be able to pick the angle of viewing or the degree of engagement or to be able to study closely how the movement is accomplished against the glass. As Austin's oldest and most widely recognized modern dance company, Sharir once again hopes to challenge audiences with dynamic images and exciting dancing. . ' ¥ Sharir Dance Compan~ hol.ds court in u·nusuar 'i ' glass-enclosed venueI •...,..., ..•? ,..~ ,t cated avant-garde dance. The compa ny's move from a proscenium stage to a site-specific location is gutsy, consid ering the high-tech productions Shar:ir audiences have come to expect. The troupe anticipates a large crowd of faithful followers, however, and for this unique production, the dancers will perform twice each evening, to allow for maximum audiences. Bustamante is no stranger to site specific dance. His reperto:ire includes choreography created with perfor mance artist Sally Jacques for empty swimming pools, trees and other un usual outdoor venues. His latest creation brings dancers and audiences inside the University of Texas Recreational Sports Center for choreography in a racquetball court. Dancers wearing tennis shoes will jump, slide, bounce, careen and collide around the space, defining what Busta mante calls the court's "five walls." "I count the floor as the fifth wall," Bustamante said. "Actually, two ofthe walls are glass, which offers a unique perspective. There's a real sense ofin side and outside, with the audience peeking through.'' Bustamante's first choice for a Shar:ir site-specific dance was the City of Austin's power plant, but the liabili ty issues were too complicated. He turned to UT's sports facilities, in stead. Several years ago, he had re hearsed -for lack ofstudio space -in ·racquetball courts and remembered liking the pure, clean, slick surfaces. "The court's physical attributes affect the exploration ofthe surfaces, the design elements and the sound," he said. "When an artist uses a nontraditional performance space, a new world Dancers Davittchao,,back row from left, Bryan Green and Terry : Hardy will jump, slide, bOunce, careen and,collidearound a raCcl\letball,courtin"Stia'lir Dance company' s'C()Urt 6; choreographed by Jose Luis 8ustamante.-.front: Racquets are optional this weekend as the Shar:ir Dance Company bounces off the walls in a glass-enclosed racquetball court for its first site-specific production. Sound strange? Not really. -site-specific choreography is nothing new. Fred Asta:ire danced it. Gene Kelly excelled at it. Busby Berkeley, F1orenz Ziegfield and Esther Williams made fortunes doing it. MTV would be · tame without it. Site-specific choreography is everywhere in the movies, on stage and television: Build an exotic set, or scout an unusual locale, then allow the choreographers to figure out the rest. Asta:ire danced on walls, while Kelly tapped and splashed through rain-filled gutters. Michael Jackson still bysondra writhes and preens lomax in a variety ofimprobable-locations. special to the We accept dance in american-statesman odd places and under unusual c:ir cwnstances on stage and in the movies, where we temporarily suspend reality and let our imaginations reign. In real life, however, audiences sometimes balked at site-specific choreography. During the post-modem dance heyday of the 1960s, choreographers reveled in outdoor performances on rooftops, hay meadows and parking lots. Audiences did not. Over the past 30 years, dancers have invaded all sorts ofspaces from art musewns to train stations and bridge anchorages. Audiences are accustomed to dance in unusual places. inAustin, however, site-specific works are practically a tradition. Perhaps it's the warm climate, the ofcreative alternatives is opened." For years, Bustamante has explored dance on various surfaces, from rocking platforms to slick floors. "Court 6" continues his forays into alternative spaces, with different challenges and problems to solve. Adjusting the acoustics One ofhis biggest obstacles has been access to the space. The UT Rec SportsCenter is popular, and the racquetball courts are booked far in advance. Bustamante and the Sharfr dancers have rehearsed from 6:00-8:00 a.m. for weeks -the only times they could reserve the court. "I know ice skaters do these earlymorning hours, but we're dead t:ired," Bustamante quipped. "Once we wake up, things go well, but there have been some interesting developments from rehearsing at the crack ofdawn." Another challenge is the acoustics. Onlookers cannot hear the dancers moving inside the court or the accompanying music. To counteract the disconnected feeling caused by lack of natural sound, Bustamante is placing microphones arourid the walls and floor. "It's a constant struggle to balance what I want as a choreographer and what the space dictates," he said. "But that's one ofthe reasons I love doingsite-specific works. You never know until you begin what all the variables will be." There is a universal pragmatic concern with site-specific works, however. Once created, choreographers must decide, "How can we tour with this?" It's a risk the Sharir Dance Company i,s willing to take~. Sharir Dance Company's 'Court 6' When: 7 and 8:30 p.m. Friday and Saturday; 2 p.m. Sunday Where: UT Recreational Sports Center, 2100 San Jacinto How much: $8-$12 Info: 454-TIXS i.Iiteresting env:irons or just Austin's active modem dance and performance art community. Whatever the reason, our city can claim more site-specific dance productions than most. Dance in a variety ofplaces, from the State Capitol's steps to the UmlaufSculpture Garden, is casually accepted as just another venue. And audiences don't mind. In fact, they seem to enjoy alternatives to the proscenium stage. Gotta dance everywhere Just as music fans flock to outdoor concerts, dance aficionados swarm to site-specific productions. When Dee McCandless resurrected "Waterworks" last summer, it was standing room only along the banks of Barton Springs Pool. Shar:ir Dance Company extends its production boundaries with "Court 6," a premiere site-specific work by co-artistic d:irector Jose Luis Bustamante. The Shar:ir troupe is known for its cutting edge choreography and sophisti . 48 February 20, 1997 !lJAustin American-Statesman ., bymichael barnes american-statesman arts critic Note: This column is part of a series on the defining -. moments of the 1996-'97 arts season. Each article examines a key event from one Austin group. Sharir Dance Company Founded: 1982 Annual budget: $565,000 Annual attendanC:e: 19,000 Information 458-8158 52 Mar~h6.-1997-·IJlA.usti~-~-rica~~tesm, "·---·-··---~·-~··----~-~-·-··_._..-·--w-·--- Sharir Dance's bold effort on 'Court 6' 1s a winner .ot much is new under the Austin dance sun. "Court 6" was. This 35-minute, site-specific piece by Jose Luis Bustamante, seen last week at the University of Texas Recreational Sports Center, is exactly the kind of breakthrough performance Sharir Dance Company was founded 15 years ago to propagate. On the face ofit, Bustamante's program was simple. He discovered an interesting space in the UT sports complex and tailored a dance for it. Not just any space, however, but a corner raquetball court in the handsome, still-new complex. Here, two white walls joined with two tall Plexiglas sheets, enclosing a blondish wooden floor. Spectators crowded on two exterior levels along an extended "L." Even before the first dancer entered, audience anticipation ran high. Playing in such an unusual place, flanked by curious, passing students, could have dissolved into gimmickry were it not for Bustamante's methodically thorough . search for an authentic response to this box from his moving bodies. Costumer Kari Perkins bore the primaryresponsibility for setting the tone with her futuristic-looking athletic wear for the seven dancers. William Meadows contributed the essential aural element by selectivelymiking the screeches of shoes and thuds of bodies striking various surfaces. Music, taken from David Lang, Alexander Balanescu and Perotin, balanced pleasant tones with the necessary rhythms. Still, it was Bustamante's adept and constantly shifting arrangement ofbodiesthree male, four female in this willowy company -that made an indelible mark. Individual movements and positions were familiar enough, borrowed from the modern and postmodern vocabularies. Yet Bustamante alteredthe drooping, off-balance torsos, swinging, loosely entwined limbs and stop/start motions to fit this highly charged space. The dancers touched the walls and floor in every conceivable way, from lovingstrokes to full-body slams which recalled the padding-poundings of STREB/Ringside, the masochistic dance company that visited UT not long ago. Particularly fearless and flexible were Carolyn Pavlik and BryanGreen, but this is a unified company and only rarely did they soften their lifts, attacks or releases. The one-weekend event is over. IfBustamante would consider restaging "Court 6" inside a con$tructed_stage setting, he'd have my whole-hearted endorsement. Hands down, this was the most satifying new dance I've seen in Austin for a while. Danger lies in repetition, however, as the Sharir company has discovered. Founder Yacov Sharir and his co-artistic director, Bustamante, have spun dozens offresh ideas from their permanent residency at UT, some spurred by their performances around the globe or through collaporations with dance legends such as Merce Cunningham. Nevertheless, it must be said that some creative bundles grow heavy with age. Sharir's pioneer use ofcomputer-assisted choreography, for instance, has yet to produce a true analog to virtual reality, as the company's publicity often suggests. Regularvisits to this theme are beginning to wear thin. It can't be easy toting around the title of ''best modern-dance company in Texas,'' a nickname Sharir has truly earned. In a state where ballet has only recently taken root, the modern form (and its offspring) have never won broad or deep regional following. Step by step, Sharir is changing that. For its trouble, Sharir has been rewarded with numerous national and regional grants, engineered by the company's adroit executive director, Carol Adams. This munificence has backfired somewhat, since Sharir has been hit harder than most Austin companies by cutbacks in government subsidies. It is sometimes easy to take Sharir for granted, to assume that every mid-sized citydeserves a healthy group of its size and accomplishments. That is not the case, however, and Austin, which hosts a dozen smaller modern and postmodern groups as well, is stupendously lucky to keep Sharir online. Now let's see "Court 6" again. Friday, Februa..Y 13, FEBRUARY 12·15 FEBRUARY 13 e Friday, January 25, 1~85 tmages/page 5 Modern dance: not for Sixth Street Dance Preview By Septime Webre Last week, I casually mentioned · to my friend Lindy that I thought Austin was a great place to live; for a town its size the entertainment and arts scenes were burgeoning into fairly strong communities. She agreed. "You're right/' she said, "Sixth Street is great! I had a blast at Aquafest. .. too bad they closed The Party." Tha(s not quite what I had in mind. I was really talking about the arts, and dance in particular. And Austin's dance scene, while still in its formative years; has loads to offer. Deborah Hay and Yakov Sharir are two dance makers who have helped catapult Austin's moderndance community forward; they are both very enlightened and intriguing choreographers. Their respective companies will perform on a joint bill at Capitol City Playhouse this weekend. Hay's Company will perform two of her works, "Shaking Awake the -Courtesy Alan Smith, PAC Sleeping Child," and "Tribute to Dance routines based on visits to natural caverns and abstract impressionism abound in the companies of Yakov Sharir and Deborah Hay. Growth." Both are distillations of large group performances, and are accompanied by music and poetry ness. Hay's dances are at the same stead of one where its aesthetics are ability to express the material Sharir formed his company three by Bill Jeffers. · time enigmatic and inspired. Duralready established." through simple movement." seasons ago, after having directed "Both pieces use a choreographic ing the 1960s, she danced . with The Sharir Dance Company will Sharir' s company will also perthe American Deaf Dance Company structure of a series of images," says avant-garde dancer-choreographer dance "Red, Yellow, Blue" by Caliform one of his own works, "Variasince 1977. Hay. "The two pieces use imagery Merce Cunningham, and then with fornia-based "next wave" choreogtions," which is based on the abof very different spirits. " "Tribute a group of progressive artists at the rapher Margaret Jenkins, inspired stract expressionist movement in I may try to force my friend Lindy to Growth" uses rocklike imagery, Judson Church Theatre in Manhatby a retrospective of works by artist art, and the works by one of its to see these two companies with and was largely inspired by a visit tan. Nine years ago she came to Jasper Johns. Jenkins' dance is leading exponents, Hans Hofmann. me. But then again she might drag to some natural caverns. "Shaking Austin to perform at Laguna Gloria. Johns' pieces themselves, her reacSharir has taken certain aspects of me off to Sixth Street afterwards Awake the Sleeping Child" uses She liked the city and stayed. tion to them, and her reaction to Hofmann's style and transformed a fate worse than death. very subtle images, and evolved "The community is still in its how other spectators were viewing them into movement vocabulary. from a piece entitled "Heavily Laformative years," Hay remarked, them. "This is a piece with a great For example, circular brush-strokes den Fruit." "but that's what makes it exciting. deal of texture as opposed to strucof varying intensity, and the paint The Deborah Hay Dance Company Hay's five-member company uses There's a rich underground of ture," says Sharir, who is also a prosquirt from a tube directly onto a and the Sharir Dance Company the performance experience to help dance here, and I'd much rather be fessor of dance at the University. "It surface, become rhythmical patterns perform at 8 p.m. Friday and Satur.achieve a higher level of self-aware-in a place just discovering its art, in-is very gestural, emphasizing the and push-pull movement qualities. day at the Capitol City Playhouse. • Creation of dance to be examined By KELLY BUDD " Pas de Quatre" by Leon Danielian , head of the Uni Taking risks is part of the versity's dance program and hit and miss game of becom former director of the School ing an artist, and this week of American Ballet in New the Department of Drama's York. Dance Repertory Theater and " Dance comes from differ Sharir Dance Company will ent places," Vaquez said. perform three incomplete Her new dance is based on " a works. series of images, maybe Choreographer Sharon dreams. " Vasquez said the program is In one, dance, 10 dancers not meant to showcase new costumes, lights or props but use rope to explore both physical and mental bounda rather to show people how ries. The four-part dance is dance is created. " a statement about relation ''As a choreographer, ships," Vasquez said. think it's important that the Vasquez jokingly refers to audience feel comfortable,'' she said. " Many people feel one section as ' 'The Battle of intimidated by mo dern the Sexes'' because ''The dance." man is literally binding the woman with rope." The Audiences will get a bewoman breaks loose, and hind-the-scenes look at two fighting erupts, she said. modern works and a restag ing of the romantic ballet Sharir Dance Company, Far left: One of Danielian's students, Pam Schultz, takes directions from her instructor. Left: Leon Danielian directs students through an exercise during his advanced ballet class. Photos by MICHAEL SILVERWISE D~ncestudents stretch before class to avoid injuries. Left: Yacov Sharir uses sign language and facial expression to communicate with his deaf dancers. Above: Members of the Sharir Dance Company Patti Willey, Michael Carroccio and Melinda Roberts rehearse for their performance at the University Wednesday. the resident professional Abstract visual art inspired time ballets were four-act company of the College of the theme of " Variations," productions. And this was Fine Arts, also will perform a he said. Its rhythmic , athletic just a little short piece with modern work. Yacov Sharir movements correspond to no plot. " created " Variations" for the American Deaf Dance Company in 1980. When Sharir began accepting hearing dancers in late 198 1, the troupe was renamed Sharir Dance Company. "very expressive, aggressive brushstrokes with lots of color .'' To round out the program, Danielian has revamped "Pas de Quatre.'' The ballet , origi However, Danielian said ·he would not label the ballet abstract. "It's a classic white tutu ballet and has four really vivid characters," he said. " It's very old-fashioned." His new version of " Variations" has the same structure. " But because now l have new people, I have new material," he said. " They respond differently (to my choreography), and I adapt to nally choreographed by Jules Perrot, was first performed for Queen Victoria in 1845 to showcase the talents of four rival ballerinas. Danielian said " Pas de Quatre" is called the first ab A program of works still in the rehearsal stage is "an experiment and I think it 's taking a risk," Vasquez said. " But 1 think we' ll gain audiences who are more educated. " that. " stract ballet because "at the The Department of Dra ma's Dance Repertory The ater and Sharir Dance Company will perform at 8 p.m. Wednesday through Saturday in the Winship Drama Building Theater Room, 23rd Street and San Jacinto Boulevard. Tickets at the door are $5 for the public and $4 for students and senior citizens. • Steve Thomas, far left, rehearses a rope dance under the direction of Sharon Vasquez, left. 16 Images Monday, November 28, 1983 Creation of dance to be examined By KELLY BUDD Taking risks is part of the hit and miss game of becoming an artist, and this week the Department of Drama's Dance Repertory Theater and Sharir Dance Company will perform three incomplete works. Choreographer Sharon Vasquez said the program is not meant to showcase new costumes, lights or props but rather to show people how dance is created. "As a choreographer, I think it's important that the audience feel comfortable,'' she said. "Many people feel intimidated by modern dance." Audiences will get a behind-the-scenes look at two modem works and a restaging of the romantic ballet "Pas de Quatre" by Leon Danielian, head of the University's dance program and former director of the School of American Ballet in New York. Far left: One of Danielian's students, Pam Schultz, takes directions from her instructor. Left: Leon Danielian directs students through an ex ercise during his advanced ballet class. Photos by MICHAEL SILVERWISE Left: Yacov Sharir uses sign language and facial expression to communicate with his deaf dancers. Above: Members of the Sharir Dance Company Patti Willey, Michael Carroccio and Melinda Roberts rehearse for their performance at the University Wednesday. "Dance comes from different places," Vaquez said. Her new dance is based on ''a series of images, maybe dreams." In one dance, IO dancers use rope to explore both physical and mental boundaries. The four-part dance is "a statement about relationships," Vasquez said. Vasquez jokingly refers to one section as ''The Battle of the Sexes" because "The man is literally binding the woman with rope." The woman breaks loose, and fighting erupts, she said. Sharir Dance Company, Dance students stretch before class to avoid injuries. the resident professional company of the College of Fine Arts, also will perform a modem work. Yacov Sharir created "Variations" for the American Deaf Dance Company in 1980. When Sharir began accepting hearing dancers in late 1981 , the troupe was renamed Sharir Dance Company. His new version of "Variations'' has the same structure. "But because now I have new people, I have new material," he said. "They respond differently (to my choreography), and I adapt to that." Abstract visual art inspired the theme of "Variations," he said. Its rhythmic, athletic movements correspond to ''very expressive, aggressive brushstrokes with lots of color.,, To round out the program, Danielian has revamped "Pas de Quatre." The ballet, originally choreographed by Jules Perrot, was first performed for Queen Victoria in 1845 to showcase the talents of four rival ballerinas. Danielian said "Pas de Quatre" is called the first abstract ballet because "at the time ballets were four-act productions. And this was just a little short piece with no plot." However, Danielian said he would not label the ballet abstract. "It's a classic white tutu ballet and has four really vivid characters,,. he said. "It's very old-fashioned." A program of works still in the rehearsal stage is "an experiment and I think it's taking a risk," Vasquez said. "But I think we'll gain audiences who are more educated." The Department of Drama's Dance Repertory Theater and Sharir Dance Company will perform at 8 p.m. Wednesday through Saturday in the Winship Drama Building Theater Room, 23rd Street and San Jacinto Boulevard. Tickets at the door are $5 for the public and $4 for students and senior citizens. • Steve Thomas, far left, rehearses a rope dance under the direction of Sharon Vasquez, left. 16 Images Monday, November28, 1983 N4/St;NDAY, OCTOBI:R 28, 1984 SAN ANTONIO LIGHT MASTERFUL STEPS: The Sharir Dance Company will perform at the Carver Cultural Center. An abiding love for dance intervened and harir Dance Company was born By JOSIE NEAL Dance critic Yacov Sharir· might be working with stone and clay instead of flesh and blood, had not a love for dance intervened. The Israeli choreographer, whose Sharir Dance Company comes this week to the Carver Community Cultural Center, prepared for a career as a visual artist in sculpture and ceramics. While a student at the Bezalel Academy of Art in Jerusalem, Sharir also studied at the Rubin Academy of Music, and worked with a folkloric dance group. "That's where I really got hooked on dance," he said in a recent interview from Austin, where his modern dance company is based. · After graduating and setting up as a visual artist in Tel Aviv, Sharir found he missed dancing. In 1954, he joined the newly formed Bat-Sheva Dance Company. It was an experience that was to provide a firm foundation for his future as a choreographer. Martha Graham served as the company's artistic director for six years; therefore, said Sharir, "we really got the best of her_repertory." Other important dance figures, such as Jose Limon, Jerome Robbins and John Cranko, also worked with the company in its early years. . "Can you beat that?" Sharir asked. '~Between Graham, Limon, Cranko and Robbins, there was nobody else at that time to work with. This was it! Thafs why I felt so fortunate. There was no better way to learn the craft of choreography than that!" Sharir remained with the company for 12 years, then spent the next three years assisting fellow Bat-Sheva dancer Moshe Efrati in the formation of a company of deaf dancers. (By coincidence, Efrati's company, Kol Demama, will appear Nov. 6 at the Majestic Pe~forming Arts Center.) SHARIR DANCE COMPANY WHEN: 8 p.m., Saturday, Nov. 3 WHERE: Carver Community Cultural Center While on tour with Efrati's company in Washington D.C., Sharir met Janet Norman, who had conceived a project called Spectrum to assist the work of deaf artists. Norman was impressed with the work of the Israeli deaf dancers, and asked Sharir to form a similar company in Dee McCandless and Deborah Hay. "I don't think my dancers should work only with me," Sharir explained. "I feel that I need to open them to other ideas and other creators who have good work." This season, for example, the company is again collaborating with such artists as Hay, as well as Michael Uthoff, of the Hartford Ballet, and post-modem choreographer Trisha Brown. Sharir's own works are drawn from the United States. -his experience and environment, and may Armed with a grant from the National reflect "climate, colors, moods and paintEndowment for the Arts, Sharir moved to ings." Three recent pieces are planned for Austin in 1977 and began the American the company's San Antonio performance. Deaf Dance Company. While a major city "The program is so colorful and so differsuch as New York might seem the more ent," he noted. "It really presents a very obvious choice for such an endeavor, broad range of ideas about dance. Sharir chose Austin because of its active "Seven Little Dances," which Sharir artistic climate, and for the opportunity to describes as "very much from my im"spread the work to so many other peo-mediate environment," incorporates such pie." diverse elements as a cactus dance and a He began with dancers who had little conversation between two dogs. Another or no training, giving them a good work, "Variations," is influenced by the grounding in ballet and modern dance and abstract expressionist art of Hans Hoff. directing the particular energy that non-mann, Jackson Pollock, Willem DeKoonig hearing people bring to movement. After and others. "It is more or less a work that five years, in which the company earned a is a painting, which has to do with my respectable reputation, Sharir and his past as a visual artist," Sharir explained. dancers decided it was time to move on to "Four Legs," in which Sharir himself other things. Some dancers continued will dance, is done to accompaniment thier careers; others moved into teaching. sung in Hebrew, and deals with the influSharir formed the Sharir Dance Company ence of folkloric dance on ballet. "It probin 1982, with both hearing and non-hear-ably has lot to say about my work as a ing dancers, and two of his original danc-folk dancer, but it is also very much a ers remain today. Sharir describes his present company as a "very solid mid-size modern and post-modern dance company" that fills a gap between post-modern dance and ballet. "It's really an outgrowing extension of my vision of dance," said Sharir. "It's a vehicle for me to put on all my · ideas about dance, and really express my opinion.'' post-modern interpretation!' Sharir says the program reflects many of his feelings about dance. "the only thing missing is that there is nothing aggressive about it. The whole evening is too peaceful for my taste," he said laughing. but then added: "The dances are peaceful -but the dancers are very energetic.,, The Sharir Dance Company will perform Saturday at 8 p.m. at the Carver. But the company does not reflect only Master classes will be offered Friday at 6 Sharir's artistic viewpoint. In its reperto-and 7:30 p.m., and Saturday at 11 a.m. ry are works by other choreographers, and 1 p.m. For more information, call such as Margaret Jenkins, David Gordon, 299-7211. ~ustin .Americon-itntes on Sunday, March 27, 1983 12 Austin American-Statesman • R vew Poetry provides accompa.niment for aural ballet By DEBI M RTIN Special io the American-Statesman People who think all dance ls done to music · may have been shocked Saturday night at the Per· forming Arts Center. All pieces on the program used verbal material as accompaniment in a variety of ways. The guest performers, the Margaret Jenklns Company from C&Ufornla, presented a strikingly th atrlcal view of how words can be used as ac· companiment. In "Versions by Turn ng," poetry was spoken by the dancers. In each section, the words and dance expanded on the possibilities of the two mediums in one space. As with musical accompaniment, the poetry provided rhythm, a second c.otructural base for the dance, mood and atmosph..re. Since the poetr1 contained lines that were amusing, intimate or gripping, the piece was an outstanding aural and visual experience. Yacov Sharlr's premiere piece on the bill, "Col· Iage," was ju, t what its name Implies. A voice col· lag accompanied the piece whlle some of the dancers performed wearing only one toe shoe. Combined, tllese effects bombarded the senr.ie" and provided a montage of images related in the abstract. Jenkins and Sharlr have a lot ln common cho· reographically. Their motion vocabularies gather eclectically the best of ballet and modern dance. Both choreographers know how to guide the eye all over the stage while different s ,quences are occurring. And both have the good taste not to turn the stage into a circus. They can use crowd of dancers and recharge previously bare space with the introduction of the simplest motion. And t 1eyallow their dancers to move as a group while still maintaining their individualism. This is no small feat, onstage or off. ' • • ••••• 4 •• Austin American ..statesman Sunday, October 21, 1984 Sharir gives 'Parade/ updated look/ feeling By DEBI MARTIN Special to the American-Statesman When Yacov Sharir decided to do a version of the Diaghilev Ballet Russes 1917 ballet Parade, he was faced wiUi a predicament m<>st choreographers don't have to deal with. when they restage most historic or contemporary dance works. If Parade had been the creation of a single choreographer, which is the case with most restagin~. Sharir's task would have been simpler. But Parade was a collaborative, perfordo Parade to coincide with the Cocteau festival, I mance art work -which is what makes it both unusuggested the Joffrey Ballet because I knew they'dsual and problematic to stage. done a version of Parade. But they asked for $80,000. Plan Bwas that I proposed to the dean that I do a newAlthough Leonide Massine choreographed Paversion of Parade -I felt a little responsible berade, his input was the work's least noted, least innocause I'd suggested the Jaffrey. vative effect. Erik Satie's score for Parade included sounds made by sirens, typewriters and airplane propellers. Pablo Picasso's cubist sets and costumes "I also did it because I feel the college is ready to -one character was dressed as a skyscraper -are produce something locally that is as good as national memorable in their own right. Jean Cocteau supwork, rather than bring productions in. You become plied the libretto, which satirized a company of musomething when you begin to do your own produc sic hall performers and circus acrobats perf arming tions. Parade was our first major opportunity to do excerpts from their repertoire to an unimpressed ausomething very stimulating ~rtistically and to pro dience on the streets of Paris. The libretto called for duce it ourselves -in terms of costumes, choreograa French manager, Chinese conjurer, American phy, stage design, everything. Never before has there man, American girl, acrobat and horse manager. been a large-scale locally produced performance as this one." SHARIR HAD A choice. He could eitJler restage · the work in a manner representative of the original Photo by Tom Giroir Clinton Norris, director of the Performing Arts -which meant he'd have to cope with people's exThe Hartford Ballet will perform Yacov Sharir's version of the Diaghilev Ballet Russes 1917 ballet Parade Friday and Saturday at the PAC. Center said, "I'm trying to think if we ever did anpectations of the infamous ballet and its reputation other production like this from scratch. I would say it-or, be could create his own version, which would compares to the world premiere of Al-inkishafi involve making choices about presentation. The Soul's A wakening (which was produced at the "I wanted to use the libretto but I wanted to come PAC last April with an oratorio by a UT professor, up with a result totally different and challenge mybased on a classic East African Swahili poem). The self with new material," said Sharir, a University of music was composed here, the stage design was proTexas modern dance teacher. "If I hadn't, I would duced here, we marshalled all the forces for the have been in big trouble. Picasso did the ultimate. I dance sequences, and the lighting was created here. I didn't want to be compared to Picasso. I decided not can say that Parade is one of the few full-scale pro to use the cubist costumes, but once I took them out, I ductions that the PAC has produced from scratch. was left with a libretto that calls for a series of unim pressive acts. It's about mediocre performance, "And I think it follows that the success for this pro about artists acting out their act and managers preject means we feel confident about picking another senting those actors. It's a street scene, and in project of major significance. I think what is unique between doing their stuff, the actors do normal, is the daringness of it all, that we would marshall this everyday things. Cocteau's libretto reads, •. . . and many forces to present something new and exciting the audience was not very impressed.' I listened to to Austin." the music and I said, 'I don't like it.' I didn't know what I was going to do with it. How do you do a play WHEN SHARIR REALIZED he, not the_Joffrey, that's not supposed to be impressive? was going to do Parade, and that he was going to ex"It really scared me, but I wanted the challenge. So tend the number of characters in the work to 20, he I went back to a mechanism that's always attracted started looking for a company of that size that could me. I took the idea of the act occuring in the streets execute his eclectic modern-ballet style. He immediand borrowed from the commedia del l'arte tradition ately thought of the Hartford Ballet. of the grotesque, in which everything is done so fast, so quick, so compact, it's grotesque. And I took the Noted for its highly theatrical style, full-length prolibretto to another period -to medieval times -ductions and repertoire by contemporary choreograand embarked on a whole new play within a play." phers, the Connecticut-based company seems appropriately cast in Sharir's Parade. Hartford's ar 1 In the first half of Parade, Sharir presents a street tistic director Michael uthoff first became associatscene in the 1500s, in which troubadors perform a ed with Sharir in 1979, when the company wasgrotesque version of Parade to medieval music by engaged for a long-term residency at UT and peranonymous composers, while a group of street peo formed Sharir's Percussion Concerto #2. uthoff, ple from 1917 watch. Then in the second half of ttie who is a former Jaffrey Ballet dancer, collaborated work, at a much slower pace, the troubadors watch with Sharir on Parade, and the work will go into thethe 1917 group perform its version of the acts in Pa.. company's permanent repertoire. rade to Satie's score. Sharir, who started the American Deaf Dance SINCE SHARIR PLACED his characters in a dif Company in Austin in 1977, and then his own com ferent time period than those in the original work, pany in 1982, has previously set his works in streetnew costume designs were needed. When Sharir's scenes -including Paris, which was the setting forParade premieres next weekend at the Performing his 1983 premiere Collage -and included in suchArts Center as part of the University of Texas' CocTwo of the costumes that members of the Hartford Ballet wear works all th~ action sequences that such a setting imteau Festival, the 1917 ·players will be dressed the for Parade will be a Chinese conjurer, left, and a presenter, ,plies. However, considering that most of his locally way people typically looked in that time period as dressed as a witch, above. These costumes were changed radicalproduced works have been non-narrative, abstract, they walked down the streets of Paris -with one ly from the ones Pablo Picasso designed for the original preseneclectically modern dances with a sculptural look, it very appropriate exception, the American girl will tation of the ballet. should be interesting to see how he presents Maslook like she comes from Texas. The players in the sine's circuslike, somewhat burlesque, somewhatfirst half of th.e ballet will be dressed as medieval mundane choreography. The production may be atroubadors. turning point in Sharir's career as well. "Basically, I stretched the libretto. When it got too Chinese conjurer might do four tricks instead of the ballet, the presenters will look like bar room \vaitcdnsidering all the elements that go into producing unimpressive, I made intelligent choices," Sharir two he does in the 1917 version." resses of 1917. In the medieval section, they'H look Parade, the production may very well be a turning Parade will be performed at 8 p.m. Friday and said. "I saw no point in brutalizing the libretto or Sharir also invented a few characters that weren't like witches, whose long beak-like noses "su~r~alistipoint in Austin's development as a self-supporting Saturday at the Performing Arts Center. The Hartsticking to it totally. I do. different thin~ with the in Cocteau's version. Whereas Cocteau's Parade, cally suggest the characters are in a street with a arts center. It also shows how ambitious UT's Perford Ballet will also perform George Balanchine's characters. Instead of the Chinese conjurer doing placards on an easel read "Act I," "Act II," and so on, fountain. The troubadors will come on stage'and sudforming Arts Center and College of Fine Arts have Allegro Brilliante and the Sharir Dance Company egg tricks, he'll do scarf tricks. In the troubador ver-Sharir has created characters called "presenters" to denly find themselves in a play. It'll be like f1 group of become. will perform Sharir's Seven Little Dances (Suite . ~io1,1 ~':'eryth~1'Ri& don,e vezy quic;k. In that~~ti.on the intr.oduce some of the acts. In the 1917 half of the troubad.ors in Austin performing on. the .Drag." . •I l I ' I "WHEN THE COLLEGE of Fine Arts decided to de Danse). . , . , .. , .... ... . ... ' . . . .. ' ' ' > ~ 1 < f ! ' I I I , • ' • • • • I i I l • I • I ,. ' SAN ANTONIO, TEXAS Sunday, Oct. 28, 1984 EWS __tonio steps out ance season opens busy 2 weeks By ROGER DOWNING Assl. Sunday Editor/ Arts AUSTIN -Sculpture and dance aren't usually discussed in th~ same sentence, but then Ya cov Sharir is not the usual chore ographer. · A sculptor, as well as a dancer, by training, Sharir has has managed to successfully combine the two disciplines. Watching Sharir teach a class, one quickly realizes that his dancers move in ever changing geometric shapes. A petite dancer cuts a triangle across the practice floor, and then repeats it -only this time it's a slightly smaller triangle. Sharir even ha" a dan e enti tled "Shapes." Other pieces have less movement, but still maintain a sculptured look -say of, garden statuary leaning in a spring zephyr. "My pieces are quitescuptural," Sharir says sitting in his book-filled office at the University of Texas at Austin where he is a dance specialist With him are two tll;ed dancers, Kate Fisher and Susan Grubb, who double as the associate artistic. director and ballet mistress for the Sharir Dance Company. The three of them have just finished rehearsing the SDC for its Satur day performance at the Carver Community Cultural Center. "We are filling up a gap that is not existing in the whole South put together," the Moroccan-born and Israeli-raised Sharir says. ·"The only other company that would be similar to us is maybe in Utah, he Utah RepertoryDance Theater. . . . But I don't know of any other midsize mod· ern dance compan"y in this area that is a repertory company." Being a repertory company is obviously important to Sharir as it gives his dancers a chance to learn works by other choreographers -such as their January performance of David Gordon~s "Jus' Passin' Through" and two works by Fisher and Grubb that the troupe premiered during the summer. The company also has a repertoire full of Sharir's works, such as the three that will be performed at the Carver: "Seven Little Dances (Suite de Danse),""Four Legs" and "Variations." "Variations" was first performed by Sharir's American . Deaf Dance Company. which was the origin of the SOC. In 1977 Sharir was awarded a National Endowment grant to start the ADDC. Sharir, who has a Midas touch when it comes to grantmonies, soon had the ADDC touring the nation. Sharir says the troupe fulfilled its purpose and was disbanded in 1982. "The original plan was to really provide an opportunity for deaf dancers to participate in the p!"ocess of becoming professionalartists,'' Sharir says. "And when this process grew to a company that was functioning . . . that's when they had to make choices: if they wanted to stay here and join the Sharir Dance Companythat I was ready to start -and some of them did -or they wanted to move to other com. munities.... "Really as far as I was concerned, it was a natural process." The SDC uses hearing-impaired dancers in some of its works; however, none will be with the company for its San Antonio performance. The 43-year-old Sharir sees the future of the SDC as a touring company. He rightly figures that the only way for the troupe to gain the experience and exposure it needs is to hit the roads. He Please see SDC, Page 3-H GlO Austin American-Statesman Thursday, October 18, 1984 · ·university faculty builds future of dance /or Austin Sharir leads wave of confidence with ambitious choreography One of the most promising events of the local dance season is ikely to be Yacov Sharir's version of the Jean Cocteau-inspired, 1917 Diaghilev ballet, Parade, which will be performed Oct. 26 and 27 by the Hartford Ballet. Sharir, who directs his own company and is a modern dance teacher at the University of Texas, has made Parade his own by introducing new characters and scenes into the work. Because restaging an historically significant and outrageous ballet such as Parade would be a challenge for any choreographer, Sharir's decision to create a new version of the work is doubly ambitious -and his decision could very well be viewed as a positive reflec . Uon on the health, stability, talent and growth of · UT's dance program. Before a university can offer its community quality dance productions, it has to have qualified teach-· crs who specialize in various ~ aspects of dance education on its faculty. In the last six years, UT's multitalented dance faculty has come together. Lathan Sanford eaches jazz; Barbara Barker. who was awarded a 1984-85 Fulbright' grant to England to research dance opectacles of the late 19th and early 20th centuries, teaches ballet. Leon Danielian, who directed merican Ballet Theatre's school n New York for 14 years and is one of America's top ballet teachers, and Suzanne Shelton. who wrote an award winning biography on Ruth St. Denis and is a contribting editor to Dancemagazine, joined the faculty in '82. Sharir, who founded the American Deaf Dance Company, and then his own company in '82, teaches modern dance in the department and frequently attracts major, experimental choreographers to · the university for joint performances. A crucial point in the development of the UT dance program was modern dance teacher Sharon Vasquez' arrival in '77. Realizing UT's Yacov Sharlr is staging a new version of Parade. Biiiy Sunday: Baseball, the Bible & Ballet, a show that combines ballet and documentary to chronicle the life of Billy Sunday, will b~ on KLRU, c~annel 18 Oct. 29. Dance Debi Martin that dance students do not learn to become performers without performance experience, Vasquez started Dance Repertory Theatre in '80. Prior to DRT, there were a few faculty recitals each year, but no continual repertoire. Moreover, DRT soon began winning awards and garnering recognition for UT's dance program. Vasquez won a gold. medal for choreography in '82 for False Starts, Fast Changes at the Southcentral Regional Dance Festival, where DRT won a silver medal for' best performance. In '83, DRT was honored with an invitation to dance at the Kennedy Center, as part of the American College Dance Festival. · "This department has been totally reconstructed," said Sharir. "Until four years ago, this place was nothing. UT had no reputation in dance. There was no discipline, no good curriculum. We now attract better students. I think the combination of teachers in the department attracts them. The word is out. · "The chairman (Coleman A. Jennings) has been very encouraging. It there are people who want to work and there is someone willing to facilitate things, it will happen. You tend to think of a university as a very bureaucratic place, but it's really about people. And if they want to achieve something, they can do it." Ultimately, those achievements translate into benefits for Austin dance spectators in a way similiar to how star coaches attract better football players and produce award-winning football teams. A faculty that has recognized credentials attracts better students, which in the long run means you see better student dance perfor mances. · Another way that the UT. dance program affects the quality of dance performances in Austin is through its graduates. Nationally . recognized choreographer Dee 1 McCandless is a UT graduate, as well as Tana Kent, who made her debut this year as a remarkable solo/performance artist. Footn~tes: UT Dance Professor · Emeritus Igor Youskevitch made headlines in the dance world over the summer as the co-director of the first New York International Ballet Competition, which was held June 11 to July 2. Like the prestigious competitions held an• nually in Varna, Bulgaria, Moscow, Tokoyo and Jackson, Miss., the New York contest was designed to recognize and award technical ex-· cellence in dance among dancers from all over the world in much the same way the Olympics honors athletes. In most ballet competitions, tlae contestants are given a choice about what work from the classical repertoire they will perform. But for the New York competition, Youskevitch and a distinguished· panel of teachers put tbe contestants on more equal foot· ing b_y having them perform three required pas de deux. On The Dance Beat Tickets are still available for the Hartford Ballet's performance of Sharir's Parade. Also on the bill will be George Balanchine's Allegro Brilliante and Sharir's Suite de Danse (Seven Little Dances). And as if you haven't already read ~nough · about dance being comparPd to sports, at 11 p.m. Oct. 29, Kl.RU, Channel 18, will air Ruth Page's Billy Sunday, which addresses such obviously related topics as baseball, the Bible and ballet. The work is based on Billy Sunday, a baseball player, turned evangelist. Page. is known for her Americana ballets, such as Frankie and Johnnyand her ballet adaptations of operas and operettas, such as The Merry Widow and Die Fl .dermaus. ,, '. . Au.stin American-Statesman Sunday, March 1s~· 1984 • ~ "' ~ t :0'. _:~or;tn~lity~:~· GbaJ;Js··~.crr ~ .~. . his tightly structured works. D.·t· between 1 formality .and chaos h S?rt-of rules..You lla\itrt!> make de-,.' :--~ · .. l.lU •• • • ' c Sions b t h · a ·t .. · "' .,.,..'1' ~ wh~n it con;ies to exP.erlme.ntation,· Dyde said recenUy. "findin a : ! , · . a ou ow m iw... .res nc-: : · ~ :i . · · · · '" lions you can tak,e ~nd·~"'JP.u_ch . · .. ·~ : ::::::i ~z:~ . :Jt~orn·yo~ can·han~~~"' ,,.,. '·· · ... ;.,:-• ; ;;;~ ~~ ~-, ·• .· ' · • ·;.}.;. ..!; 1 ' ~ ·---" {: "Ji,eXperiment witli mos'lfttiin~ . "' . .. ~-.• 1 "'in t:l~solos. by setting u~·rlles~·· . f; '. ~= ' ~ ..~ . dec1dmg·to foUovl ~m.o.r.}bt~k ' ~ ~ •; !~. ,;~ ..: -.~J :" 'them. I. apPr~._chlfl~e1j}1~_aSi\jp~~-··;, ·~:.':..~:'!:' ·J.·· , • . rm walking mto .a.hon's14~b::·~1. ..-..._·' -~ ·:,1;f ·· LISTINGS figli.t if OUt..YQU ~)!itO tb.~q11;eila!~-: r.¥ ~ •.....,.... ' ~·; ~ • 1 and you•ve.got to oe·on.. My lmpa-"~ .... ...........,. · ... life. The innate spontaneity ~ence Witl;l s~cture ~paramount · of Dyde's work is based on his m a solo .and I did otte recently belief that modern dance with no restrictions. .. must move ahead without "BUT WHAT I'm usually looking leaving the audience behind. lor is a balance between improvi The Sharir Dance Co., in residence at UT, will stage a sation, which keeps things fresh, revised version of "Varia· and structure; wllicp ,~eeps things tions;' a dance originally .somewhat coherent." ". Sharir Dance Company: An· 1 choreographed for the Wh~nDycJ.e is·in Au~~nSaturday: .: nual Dance Marathon, Per· American Dance Company in as a guest:artist with, , the Sharir forming Arts Center, UT, 1981. The troupe will then 471-1444. Mar 24, 8 pm. Two premiere Sharir's "Suite de Dance Com~any.; ~e.will per~Qrrn of Texas' most prominent Dance;· which, in one of its 7 two improviSational Solos. In "Con modern dancers/choreograsections, emphasizes the ,~ versatio*:W'ttfl M!'W./' he will pei: phers come together to preshaping and balancing . form a movement dialogue to a sent Austin's first annual qualities of cactus. In collection of Gershwin son~. His "' dance marathon, touted as another, dancers will act out other·8010 on the bill will be even' · the city's longest and most· a c.onversation between a · i~~ctured. ~ · ·. · involved dance presentation. Lhasa apso and a Yorkshire The program will include 2 terrier. Sharir explains that , 1,'in~addi~n t~ his unpredictable, solo dances choreographed the intent is not to mimic or · non-li~e~sfilost Dyde balances his and performed by guest artist mock such subjects, but '" repertoire with meticulously craft rather to explore the quality Farrell Dyde, as well as 3 ed 'dance'-dtama ' group. ·pieces. dances choregraphed by ar· of energy they produce. The These quasi-narratives often haye tistic director Yacov Sharir. third dance, "Collage;' deals themes that deal with irreconcil-,.,. ·t with a series of events thatDyde, who is a member of the I able differences in destnicUve·re-· . University of Houston dance happen in different places faculty, has choreographed simultaneously. This lationships. . Houston choreographer -Farrell Dyde says his work is a 'dia- more than 40 works which 1 marathon of multifarious "I might be a frustrated novelist logue bety.'een formality and chpos.' ~ . have been performed across dances is sponsored by the ~ beca1,1Se chara~ters, do emer~~. in .. ~MY~~THERand father were to m~workbecause I try to syntl)e the country. With a 1 Sharir Dance Co., the Perfor· my yrork an~ mvolve the tension important ~nfluences because t~eY', .~ize themi.. wMc~ is·ip a sense what background in theater, ballet, ming Arts Center and the l between ~enand ~~en.ltecen.t-w.er~.so djfferentand never really ·I, did~~child-I wanted to bring psychology and modern art 1 Laguna Gloria Art Museum, history, Dyde seeks to synwith the assistance of the ly did a p1~c~. about~ce~p'le who~d ":."got alohg. My father was a psycliia-.·i)ty parents together,., . · · · . thesize these influences in· J Texas Commission on the been man;ied f~r f1ve·yea~·that ' trJsta119 my motlier was a frustif{t_. ~ · . . .. ' · .. to dance that addresses the Arts and the National Endow· ~elates to-~hat I.m trying:t~. so_lve1 'ed artiSt; set there was a contfoll~d v • "Many of th.e.conflicts· people joys, crises and conflicts of ment for the Arts. · m my own marriage and with my personality and. a. more volatile feel have to dQ'with m~g~they parents. one. They relate in a complex way got from their pprents and often I '. , . . . '.. . I .-. 1Dyde s moder11....:c:Jance : · . · . . tei:ms of ~ept~the' company· iG-ing:point in Dyde's Houston career those m~gesconflicted. I think' ing, I have to think about corpora-occured last year when Hotlston anxiety and conflict are part of me tions.. We have to develop Ballet commi~ioned a work from and my work, but it does give the relationships with these people him. "Arcadian Dreamer" was work a kind of creatj,ve vitality. and they are oriented towards pro-seen by a Jones Hall audience that Paul Taylor once said he was schi-ducing a product -which is some.: pyd~ says would never come to a zophrenic but that it was useful in a what defined. I don•t want to sell performance at his loft studio. The · theatrical way." myself but .there are certain real-commission from the internation- Because life isn'taiway~just like ities you have to deal With. 'out of ally known company legitimized one long, humorlesS tngm.ar Berg-nece~ity, we have a-slicker image his work for a broader audience. man film, Dyde·also brio~ l,ighter but one that I hope still communi-ONE OF DYDE'S trickiesi bal moments to his works. cates what the work is about" . Dyde has hired a full-time devel-ancmg acts involves the issue of "I'm not just interested· in life's 9pment dir.ector, acquired a board the '80s: career and family. Almost morbid side. As a person you have of directors and has worked out of three years ago Dyde did someto try to move beyond all that. The his own studfo since ,76: The for-thing he ~bought he'd nev~r do: He 1last work I-did was on tile absurdi-mer -OniversitY: , of .Colorado ~ot mamed a~d had a child. Hav- Y' Qf the ~xtremes <>f ttumor and~ theate!'-pt4jor studied with Martha 10~ gr,owp. up Jn the do-y~ur~wnsadness. You have io have some Graham anc:! Merce Cunningham ., thmg 60s and me-gener:atron 70s, Ii.ope in synthesizing altthese con-in the late '605 and moved to Hous-. ~yde h~d always .~c1ated marflicting elements. Life iS..a$iruggle ton in· '75. Before he started his rage Wlt~ conformity. hut there is a sense ·of vitality in own companyt . tbe Farrell Dyde ".I didn't think I'd ever get marovercoming obstacles." Dance· Theatre, he was a member Ijed nr have a child. The desire One of the barriers-that Dyde o~·the now-defunct 'Houston Con·· was there but it was probably suphas energetically faced is Hous-temporary Dance Theatre.· · pressed because of the times I ton's' resistance to modern dance. Dyd.e says his audience has re-gtew up in -when-it was believed Houston has tra4itionally. been a maioed small, but it will grow be-that artists shouldn't get married. I ballet city. Itnever. has had much cause ."Houston is an international always associated mediocre choreof a modern dance .scene. While ;city:and has the' ~enti~·to sup-· ogrlt~h:Y~ with' being married. Hou5ton· B8llet's audience, finan-port modem d~ce:it's ~w.a ~t-.." "'Bt.tt h~Yinga relationship with a cial suppert :and rei>ertoire has . ter _of. people ~co~1~g. more woman is the only way I can congrown by)eaps and bound$,. Hous-. soph1St1~ted and !l~qumng a cul-front some ot the thin~ I am inter o_n's m?anieS ,th.af have ballet but. there ·~ amon~ audi·_ riage gives me stability. I'm alwaysexisted m the c1ty1 Dyde.s IS one of ences. But the public here JS grad-challenging myself so I need some the·few survivors:Dyde 1s now re-ually becoming more aware of form of security. It's harder to take alizing be must learn the -corpora-m.odem dance. Bill T. Jones and risks in your work if your emotiontion cottrtship dance.· . Trisha Brown were here-·recently,. al life is in tormoil." "IN llOUSTON therets ~tSpres-·. ~,BollSton ~n·t just seeing the ma-· . . Farrell Dyde willperform on a ure, thatyou have to.dooge, that JOr, es~IJShe.d ~ode~.. dance bill with the Sharir Dance Com1you have to be commercial.. This is· co!'1pames ,here .anymore. pany .at 8 p.m,; Saturday at the money city.·More and more, in But the most. encouraging tum· Performing 4rl$ Center. ~ ' . The Sharir Dance Company will per{ orm "Variations" in their first Annual Dance Marathon, Mar 24 at the Performing Arts Center. MARCH, 19 8 4 THIRD COAST Dancer weaves fabric of medium in ever-expanding patterns By Debi Martin Special to the American-Statesman The postmodern movement of the early '60s was to dance what punk rock was to rock 'n' roll music in the late '70s. In the '60s, the founders of what is now called postmodern dance said that modern dance's rebellious spirit was dead, that it had been betrayed by dance forms that looked more commercial than innovative and dance techniques that were as standard as those in ballet. The postmodemists felt that modern dance needed to be reinvented, and to do that, an intense investigation into the materials that make up dances and go with dances was needed. They wanted to break modern dance down, make it raw, to discover its regenerative powers anew. It was a time of dance anarchy. A revolution. And Trisha Brown was one of the founding rebels of the movement. SHE WAS IN Robert Dunn's now-historic, nonevaluative composition course taught in 1961 and 1962 at Merce Cunningham's studio in New York. When Dunn organized a concert at the Judson Church so his students could show their works, Brown became one of the original members of what later become known as the birthplace of the · postmodern movement -the Judson Dance Theatre. Like her postmodern compatriots, Brown created dances that featured natural or pedestrian movements, rejected traditional theatrical decorations and musical accompaniment and ventured into finding ways to lessen the distance between art and life. Seeking different methods for ordering dances, Brown involved her audience in the creation process. For example, in Yellowbelly, created in 1969, she asked her audience to heckle her. Photos by Ken Probst "The audience was too sweet so I stopped them The Trisha Brown Company, above and below left, will perform at 7 p.m. Friday and Saturday at the B. Iden Payne Theatre. Brown, below right, is and asked them to be really nasty. They did. I tried to do whatever came to my mind in response to the name-calling. When I stopped to bow (after what I considered a respectable amount of time), they screamed 'yellowbelly' at me, so I -continued until somehow we both a former member of the Judson Dance Theatre. The company, above, will be performing on the bill with UT's Sharir Dance Company. stopped," Brown is quoted as saying in Sally Banes' 1977 book, Terpsichore in Sneakers. 'I dismantle your expectations about how the body will act MANY OF BROWN'S early experiments involved equipment such as a movie projector strapped to her back while she was moving in A String -and challenged the notion that dances had to be performed on a proscenium stage. In Motor, a piece presented at the Once Again Festival in 1966, she performed on a skateboard in a parking lot while a Volkswagen followed her to supply the lights for the piece. By 1971, she and her dancers gravitated off the ground: Walking on the Wall was performed on the walls of the New York's Whitney Museum with the aid of mountain-climbing gear and ropes. "I always feel sorry for the parts of the stage that aren't being used. I have in the past felt sorry for ceilings and walls. It's perfectly good space, why doesn't anyone use it?" (From a 1974 inter· view with Effie Stephano of Art and Artists.) Brown's next major investigations involved basing dances on complex mathematical systems. Her 1971 work Accumulation is a 55-minute piece that is performed in silence and involves the coordination of two complex tasks: Brown performs a repetitive series of movements in progressive combinations while she tells humorous stories about how she decided to put the piece together, how people have reacted to it in past performances, or how she feels about telling stories and keeping the movement going evenly at the same time. Brown's dance company, which was formed in 1971, will perform in Austin this week. In a telephone interview last week she said, "Accumulation is really a funny situation. It revealed its structure almost immediately and the audience was aware that the drama was an overload and involved the vulnerability of the performer in an absurd situation. It is the piece between m~early the Art works and the works I'm making now the fulcrum. The movement I was working with back then was highly driving, personal -a kind of movement that has become my trademark. "IN THAT JUDSON period I was very concerned with working with the mechanical abilities of · the body bending and straightening and all of that done in counterpoint. The organization of the pieces, the mathematical systems, dominated, and then there was an eff-0rt to work in a movement style which is very sensual, highly sequential, kinesthetic, multi-directed, surpriseable, detailed. I no longer work with little vignettes of psychological inspired activities. I dismantle your expectations about how the body will act moving through space. The rhythms are allowed to riff in opposing structures in the body and the way they come together is seamless. You can't see the source, you don't see the revolutions. The movement is full-hearted and gobbles up space." Brown said that it was after Accumulation, after she realized that she'd established a firm base for developing an individual movement style, that she felt she could add the very theatrical accoutrements she'd rejected in the past-without the dance getting lost in the wrappings. Her newest works are performed on a proscenium stage and feature collaboratively inspired sets, lighting, costumes and musical scores by artists associated with New York's avant-garde art scene. For her 1983 work, Set and Reset, she collaborated with Robert Rauschenberg and Laurie Anderson -Rauschenberg designed two gauzepyramids and a cube, on which black and white film imagery is projected; the dance is performed to Anderson's Long Time No See. In Son ofGone Fishin, 'created in 1981, visual artist Donald Judd designed three colorful backdrops that rise one after the other, then, in reverse order, drop again -in accordance with choreographed light changes throughout the dance. He also designed costumes that match the backdrops. The dance is' performed to a commi$ioned -score for computerized organ by avant-garde composer Robert Ashley. "Don's (Judd) set is germane to the structure. moving through space. The rhythms are allowed to riff in opposing structures in the body and the way they come together is seamless. You can't see the source, you don't see the revolutions. The movement is full-hearted and gobbles up space.' of the dance," said Brown. "The dance is based-on sections that go forward and backward in a progression toward a center point and then they exactly reverse." BECAUSE SHE HAS added theatrical elements into her work through the collaborative prOCe$ and not simply as a way of dressing up her dances, Brown said she has not, as critics have suggested, simply conformed. The theatrical effects, said Brown, layer her pieces by augmenting the spirit of complex circuitry and sensuous visuals in her dances. "It's all actually a very logical progression from working with visual artists at the Judson," she said. "The collaborative process as something new really surprises me. The key to my shift is that in the early part of my career I was heavilyinvolved with sculpture and working with environments, architecture and equipment, so visual concerns are not new to me. One of the thin~that came out of the '60s was pluralism and this has been an accumulative process. My spirit from the investigations of the material of dances in the early '60s, that period of paring away the exce$es of modern dance, is still active it's just manifesting differently now." Brown is still performing some dances that don't appear as theatrical as her newer works do and more clearly acknowledge her Judson heritage. De_coy, a 1979 work, and Opal Loop, a 1981, Trisha Brown are performed in silence. and feature an antihistlionic, sparse movement style. Both of those works as well as Set and Reset and Son of Gone Fishin' will be performed by the Trisha Brown Company in Austin. BROWN'S LAST appearance in Austin was in 1981 at the now-defunct Studio 29. In that solo·· concert, Brown performed Accumulation to a packed room full of admiring, somewhat awestruck postmodern dancers who realized they were seeing the real thing, one of the original postmodern movers. In the crowd, beaming, was one of Brown's old friends, Austin's Deborah Hay, who was also one of the founding members of the Judson and a participant in Dunn's composition course. "Deborah was very important to the develop-ment of my work, as a critic and a friend. When you make a new work you show it to select peopleand she was someone I felt could see my work and be honest and tough. I'm excited about seeingher again." The Trisha Brown Company will perform at-. 7 p.m. Friday and Saturday at B. Iden Payne Theatre. The first night's bill includes: Son of Gone Fishin' and Opal Loop; the second, Working Title and Decoy. Set and Reset is on both bills. The Sharir Dance Company will open each concert with Assemblage #1, a 55-minute event that includes pieces from the company's . repertoire. ITHlN G8 T 0 .D 0 & sEE IN Aus TIN I ·A DOUBLE DOSE OFMODERN DANCE There's no doubt about it: Performances by the Deborah Hay Dance Company and Yacov Sharir's troupe are five-star dance events. And when these groups get together for an evening of modern dance, the significance is even greater. In a double-billed performance this month, the Sharir Dance Company presents "Red, Yellow, and Blue" (a piece by guest choreographer Margaret Jenkins of San Francisco) and Sharir's "Variations." Then, the Hay company performs "Tribute to Growth" and "Shaking Awake the Sleeping Child" to the music of Austin percussionist Bill Jeffers. The Hay company consists of Heloise Gold, Emily Burken, Diana Prechter, Barbara Hofrenning, and Hay. In a presentation such as this, audiences not only see two troupes for the price of one, but can witness how the groups relate to and inspire each other. Sponsored by Laguna Gloria Art Museum and the city of Austin. At 8 p.m.January 24-26 at the Capitol City Playhouse (214 W. 4th Street, 4722966). Members ofthe Sharir troupe performing "Variations" The Deborah Hay Dance Company (pictured) performs with the Sharir company at 8 p.m. January 24-26 at the Capitol'City Playhouse. THIRD COAST JANUARY, 1985 DANCE WHOA-OHi DON'T LISTEN TO THE MUSIC By Marian Smith "If you choreograph a ballet to a piece of music, you must follow it. You have restrictions," says Yacov Sharir. "But this dance is totally free -it is liberated. It is separate from the music." Sharir, a Moroccan-born director and choreographer of the Spectrum American Deaf Dance Company is talking about his latest work, "Percussion Concerto Number 2," commissioned by the Austin Civic Ballet and scheduled for unveiling Oct. 12 and 13 at Hogg Auditorium This work is indeed unrestricted by the music that is being composed to go with it. In fact, Sharir choreographed the entire piece and taught it to the ACB dancers before hearing one note of the music that he had asked Gene Menger to write for the event. "The music is absolute -the dance is absolute," he explains. There will be a union between the two when they are performed together. But each will maintain its own integrity -they will "exist as two parallel works of art." But how does he know that the synthesis of these two particular pieces will make sense? How does he know that Menger's music -still unfinished at this writing -will work with this dance? "I trust him," says Sharir simply. "I know his work -I like it." The two have collaborated before - Menger and Dee McCandless were guest artists in a highly successful springtime performance of Sharir' s Spectrum Com pany. And Sharir had been a longtime admirer of Menger's work. He recalls with pleasure t,he first time he heard Menger at Symphony Square and smiles, "from that, I know what I am working with now." For "Percussion Concerto No. 2," he simply gave Menger a list of time signatures (10 measures of 314, 7 measures of 4/4, etc.) and that was that. The two have been working on it separ ately ever since. How, you may wonder, does Sharir conduct the dance rehearsals for a piece that has, for all intents and purposes, no musical counterpart? The answer: very quietly. He even eschews the customary giving of a downbeat, saying instead "start on your own time," or "feel your own beat." The dancers, guided by their own in ternal metronomes, sally forth onto the dance floor, accompanied only by the whirring of fans and the traffic noises OCTOBER 1979 .._,,,, Director/Choreographer Yacov Sharir outside. The canonical progression from side to side in the beginning, the adagio, the "weird leaps and neat lifts" (as one of the dancers describes them) -all of these rehearsed without music, and thus without the aural cues and signposts that dancers -especially dancers of classical ballet -are used to. Sharir may interrupt with an occasional correction or admonition ("Go lower! Use your whole body!") And he sometimes does supply a rhythmic beat by clapping his hands or snapping his fingers. But the emphasis is on the visual, not the aural. And introspection takes precedence over expression. Menger has completed five minutes of the composition (the finished piece is expected to be 18 minutes in duration) and Sharir has played a tape of it at rehearsal. But he is quick to point out that, because the music will be live, it will be different the night of the performance. The ensemble, the timbre, the tempo, the mood everything could change. So the dancers are not becoming accustomed to a single set of unchangeable sounds. Furthermore, adds Sharir, the musicians will be improvising certain sections of the piece, so there will be some segments that are new to everyone. For a troupe of classically trained dancers, this is quite a switch. After all, they are used to depending on music. They take class and warm-up to piano accompaniment, they rehearse to tapes and perform to tapes or live music. They rely on music both for rhythm and interpretive inspiration. Ballet masters, in fact, of ten ask their pianists to provide the dancers with bouyancy or serenity or strength -whatever a particular combination calls for. (Cynthia Gregory, a principal dancer with American Ballet Theatre, has even said that the music of Tchaikovsky can lift her "right off the floor.") Too, classical dancers, when preparing a ballet for performance, memorize the music right along with the steps. After a few run-throughs, they come to associate their body movements with the corresponding musical passages. Many dancers, in fact, say that they would not be able to memorize full-length ballets without these musical associations. But in "Percussion Concerto," neither the simple external beat nor the musical associations with steps is a factor in learning or dancing the piece, because the music is separate and apart. As Sharir has said, "... if there is any interaction between music and dance, it is only by chance." He doesn't even know if the dancers will hear the whole piece of music before performance time. "Maybe yes maybe no. It does not matter/' he shrugs. Is it difficult for the ACB dancers to ad just to this approach? "It's hard, but we can do it," says one dancer. "It's weird, but it's kind of fun," says another. Eugene Slavin, co-director of the ACB, seems to have plenty of confidence in his dancers. "I just hope the music for the last part is loud enough to cover up the breathing," he laughs. (Indeed, the finale, a mad dash in molto vivace, is so strenuous that the dancers rehearsing in the silence of the studio can be heard gasping for breath before it is all over with.) And Sharir himself is highly confident. "It will be exciting," he says. Exciting for the dancers, who will be hearing some of the music for the very first time as they dance to it onstage -and exciting for the musicians, who will be improvising in ensemble before a live audience. It will also be quite an experience for the audi ence, which will be seeing and hearing even more spontaneity and adrenalin than the highly charged combination of live music and live dance naturally generates. Jo Anne Parsons, ACB's ebullient exec utive director, shares Sharir's certainty that "Percussion Concerto" will make for an exciting evening. She even made it across town on her day off (despite a thunderstorm and car trouble) to see the first complete run-through of the new piece. "We were just delighted that Yakov was able to fit us into his schedule," she as dance specialist at UT, as teacher at Dance Associates and as artistic director MEL8DllKI TlllTBI and choreographer of the Spectrum LIVE MELODRAMAS Oet. 5 -Nov. l.8 EVERY FRI-SAT-SUN Beer-Wine-Popcorn Stuek Fast in Old Texas Bay For Reservations or Call The Showboat 454-2591 Must Go On% In The Village Shopping Center MARLON BRANDO ROBERT DUVALL MARTIN SHEEN 1n AFOCALYPSE NOW FREDERIC FORREST ALBERT HALL SA.M BOTTOMS LARRY FISHBURNE aoo DENNIS HOPPER Proouced ard Directed by FRANCIS COPFDLA Written by JOHN MILIUS ard FRANCIS COPFDLA NarratKJn by MICHAEL HERR CoPrcxluced by FRED RQffi, GRAY FREDERICKSON ard TOM STERNBERG Directocof Pt'dography VITTORIO STORARO Prcxluctioo Desigrer DEAN TAVOULARIS Ed1toc RICHARD MARKS VILLAGE 4 2700 ANDERSON• 451-8352 COMING OCT 12 American Deaf Dance Comp~mY. made it difficult even to reach him by phont:. "We had wanted to work with hiin for a long time," she continues. "When he finally said he could do it, the dancers gave up their summer vacations to rehearse it. We feel very lucky that it worked out." Sharir, too, is pleased about this collaboration with the ACB. He is clearly welcoming the opportunity to act on his firm conviction that co-operation between Austin's dance forces is long overdue. "Dance groups in Austin are threatened by one another," he says. 'There is no need for it. They should work together." Sharir' s lengthening record of successful collaborations (with the Dallas Ballet, the Hartford, with Menger and McCandless) proves that he is willing to combine his energies with disparate types of dancers -that he doesn't restrict himself to a single group or a single discipline. This eclecticism is in keeping with the philosophy of the Slavins, who like to dish out a varied dance diet to Austin audiences. "I like to put maybe a character piece, a story ballet, something abstract -lots of things on one program," says Mr. Slavin. "What I intend to do with every performance is to give the broadest range of styles of dance. We have never -except for "Nutcracker" -presented an entirely classical evening. I try to give variety." He agrees with Sharir's conviction that a dance audience is only as good as what it sees. And "the more they see, the more they know." Also, Slavin frankly aims to please. "If they don't like the ballet, maybe they like the abstract piece. If they don't like that, maybe they like the character dance. But when they go away, everybody enjoyed something." The October program will certainly exemplify Slavin's dedication to variety. One piece -possibly a character or mime dance -was still in the works at the time of this interview. Sharir's contemporary piece will provide a striking contrast to that. And the third number will be the highly traditional "La Fille Mal Gardee" -a three-scene romp based on Dauberval's 18th century classic. Mark Hughes, ACB's razzle-dazzle man, will dance the part of Colin. And Mrs. Slavin -who has both a beautiful body and a new baby -will dance the part of coquettish, lovely Lise. "I am looking forward to it," she smiles. "It requires much technique much sentiment. It should be a lot of fun." (Austin Civic Ballet will perform at 8 p. m. Oct 12and13 in Hogg Auditorium on the UT campus under the sponsorship of the Cultural Entertainment Commit tee.) 0 ARTS & LEISURE ~ " The University of Texas at Austin 1 9 8 4 -1 9 8 5 PERFORM ING ARTS Performing Arts Center Non-Profit Organization College of Fine 'Arts U.S. POSTAGE The University of Texas at Austin PAID P.O. Box 7818 Permit Number 897 Austin, Texas 78713 Austin, Texas Presented by the Performing Arts Center and the Texas Union Cultural Entertainment Committee. 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All performances at 8pm in the Performing Arts Center Concert Hall. Watch your mailbox or local news paper for information concerning many exciting Special Events throughout the coming season, including the Alvin Ailey American Dance Theatre, Lionel Hampton, Joshua Rufkin, the Houston Ballet in an all-new "Swan Lake," Louis Jourdan in "Gigi" and many more! If you are not already on our mailing list, call 471-ARTS. Mail to: Performing Arts Center Ticket Office P.O. Box 7818 Austin, Texas 78713 .... Review your order carefully. Please enclose the order form along with a check payable to The University of Texas or use our convenient charge plan. No refunds, no exchanges. Do not send cash. Dates to remember: Current subscriber early renewal through May 31. New subscriber orders begin June 1. All season ticket orders must be received by the PAC Ticket Office by Friday, August 24. Season tickets will be mailed after August 31. All programming is subject to change due to conditions beyond the control of the Performing Arts Center. For further information, call 471-1444. Attention UT students, faculty and staff: You may pay the Cultural Entertainment Committee (CEC) optional membership fee of $25 and save up to one-third off the single ticket prices for most events in the 1984-85 season, as well as obtaining discounts to selected shows at the Erwin Center and the Paramount Theatre. As a CEC optional fee holder, you may purchase up to two tickets for each event at the discount price. In addition, you may purchase your tickets before they are available to the public. Students may pay the CEC fee during Fall registration at the Erwin Center or, following registration , atthe Bursar's office Faculty and staff may pay the fee at the PAC Ticket Office or at the Bursar's office. The London Philharmonic Orchestra Klaus Tennstedt, Conductor Saturday, October 20 For more than half a century, the London Philharmonic has remained at the forefront of the world's great orchestras. Premiere Austin performance. Hartford Ballet/ Sharir Dance Company A Tribute to Cocteau Friday, October 26 The Hartford will present a new staging of Cocteau's "Parade." Sharing the bill will be UT's acclaimed professional company in residence, the Sharir Dance Company. Claudio Arrau Sunday, January 27 "One regards him as a sort of miracle... Arrau makes (the piano) live, like God touching Adam on Michelangelo's Sistine Chapel roof; liquid , mysterious, profound, alive." -The London Sunday Times Photo: Eugene Cook BR AV 0 SERIES Leontyne Price Saturday, September 22 "Leontyne Price begins radiating authentic prima donna glamor the moment she sweeps on stage, and by the time the last lustrous note has escaped that million dollar throat, she has audiences on their feet whooping deliriously for more!" -Philadelphia Bulletin Photo: Jack Mitchell Guarneri String Quartet Tuesday, November 6 Now in their twentieth season together, the Guarneri has been called "one of the world's most elegant chamber ensembles" by Newsweek and "a wonder" by the San Francisco Chronicle. Photo: Dorthea V. Haeften St. Paul Chamber Orchestra with Pinchas Zukerman Tuesday, January 22 The Washington Post calls violinist and music director Zukerman "very likely the most versatile of all major musicians." Of the orchestra, Time says "flexibility is part of the fun of their performances. A palpable joy in music making pervades everything they do." Photo: Bruce Goldstein Offer limited -tear and mail todayl If you have already subscribed or received a brochure, please pass this along to a friend. Subscription Order Blank Name Address City State Zip Day Telephone Number Ext Preferred Seating (orchestra of first balcony) D Ovation Series .... D Bravo Series .... D Both Series .... Quantity .... @ $72 @$72 @$144 Amount Payment enclosed (payable to The University of Texas) Total D check D money order D VISA D MasterCard Account Number Expiration Date Signature D I am an '83-'84 subscriber D I am a Friend of the Performing Arts Center D Please send me information about becoming a Friend Office use only: Rec'd Paid Acct# Ackn Auth/ck Christopher Parkening Sunday, February 17 The San Francisco Chronicle calls Parkening "a prince among guitarists, a musician of genuine warmth and intellect, magnificently exciting." Andres Segovia, the master guitarist of the century, has declared him "a great artist." Martina Arroyo Sunday, March 17 Proclaimed "the reigning Queen of Verdi Opera" by Newsweek, Miss Arroyo possesses that rare combination of vocal brilliance, artistic intelligence and vibrant personality. The New York Times hails the soprano as "one of the most gorgeous voices before the public today." Premiere Austin performance. Young Uck Kim and Peter Serkin Monday, April 22 Violinist Kim and pianist Serkin-two superb musicians -join talents to present the complete series of Mozart Violin Sonatas. Photo: Arnold Newman Paul Taylor Dance Company Friday, February 1 "One of the most intelligent, stylish and physically magnificent dance troupes we have!" -New York Magazine (Additional, non-subscription performances February 2 and 3.) Photo: Lois Greenfield Prague Symphony Orchestra Vladimir Valek, Conductor Tuesday, February 19 "A major orchestra by the highest international standards" -The New York Times. Premiere Austin performance. Vladimir Ashkenazy Wednesday, Aprll 17 The Chicago Tribune calls Ashkenazy "the Romantic poetpianist of his generation." "One of the finest pianists, a wonderful pianist," says The New York Times. Photo: Peter Schaaf Choreographer Margaret Jenkins doesn't like to talk about dance but she wants the public to see her dances. months.' I can't spend time to wonder about what will happen next year. The reality is you keep doing your work and your hope is that by doing lecture demonstrations and explaining your work that peole will want to come look at your work -but that doesn't necessarily happen. So, do you give up? You .just keep doing your work." Jenkins' Red Yellow Blue will be performed by the Sharir Dance Company along with Sharir's work, Variations, at 8 p.m. Thursday through Saturday at Capitol City Playhouse. Also on the bill is the Deborah Hay Dance Company which will perform two pieces from its repertoire, Tribute to Growth and Shaking A wake the Sleeping Child. y 30, 1983 ·Hearing dancers ioiri deaf, attach to PAC By DEBI MARTIN Special to the American-Statesman From 1976 to 1982 the Sharir Dance Company was known as the American Deaf Dance Company. Based in Austin, the group presented ten seasons locally and toured nationally. It was and. still is, the only company in the United States providing prof~ional dance training and performing opportunities for the deaf. One of the initial goals of the ADDC was to bring the deaf dancers to the performance level of hearing dancers. Having met this goal by fall 1982, Artistic Director Yacov Sharir opened the company to hearing dancers. Formerly the dance company in residence in UTsdrama department, the SOC became the resident company of the Performing Arts Center last summer. The company's March 26 perfo ·~e at the The American Deaf Dance Company has been opened to hearing dancers, changed its name and became the resident company at the Perform·ing Arts Center. PAC will include David Gordon's new work and the Margaret Jenki~ceCompany from Cali· fornia. The Hartford Ballet performs Ballenchine's "Allegro Brillante," as well as Jean Cocteau's "Parade," October 26 & 27 at UT's Performing Arts Center. .. --1 -~ ,.. ~ ,,_ ,._..., Hartford Ballet Company/Sharir Dance Company, PerJQrming Arts Center, _UT, 471-1444. Oct 26 &27,8 pm. In this double-billed presentation, the Hartford Ballet performs the energetic, colorful "Parade" (in conjunction with the Jean Cocteau festival, see sidebar) and Ballenchine's "Allegro Brillante:' In the original production of "Parade" (Paris, 1917), Cocteau conceptualized and wrote the libretto, Erik Satie the score, Picasso designed the set and Massine choreographed. Hartford Ballet's Michael Uthoff directs its version and Yacov Sharir choreographs. UT's in-residence troupe, The Sharir Dance Company, stages artistic director/choreographer Sharir's "Suite de Danse;' a performance ~et to the music of KabalaCiOhana. The somewhat-humorous, very acrobatic dance, which is made up of 7 smaller pieces, premiered last year under the title of "Seven Lit tle Dances." The Sharir Dance Company, sharing the bill with the Hartford Ballet, performs "Suite de Danse" October 26 & 27 at UT's Performing Arts Center. OCTOBER 1984 THIRD COAST The Austin Chronicle February 8, 1985 Trisha Brown Dance for the Fun of It By Jana McFarland Twenty years ago, choreographer and dancer Trisha Brown renounced the customary trappings of formal dance performances. Not only did she exclude costumes, sets and music from her dances, she even refused to perform on a traditional stage. In an attempt to bridge the gap between life and art, Brown helped co-found New York's Judson Dance Theater, a group that performed postmodern dances on just about any "floor" available -on the grass, on rooftops, on interior walls and the sides of buildings. Eliminating the mystique of the theater helped Brown to more fully develop her dance vocabulary of simple, "natural" pedestrian activity. Today, Brown works with her own company, and though her dances are still "supremely nonchalant," her choreography has evolved to include collaborative efforts with well-known avant-garde artists. Her 1983 alliance with musician Laurie Anderson and artist Robert Rauschenberg resulted in the highly complex, yet seemingly spontaneous, Set and Reset, a good example of her more recent works. In this piece, the curtain opens to reveal Rauschenberg's remarkable set, a large white cube flanked by two pyramids, the faces of which serve as screens for projected black-and-white photography (running, crashing trains, a printing press, etc.) The set is slowly raised, enabling the dancers to explore the space of the stage, clustering together, colliding and then inducing each other into motion, while overhead the stream of images flows continually throughout the performance. Anderson's "Lona 'T'!--n,v See" rovi~.... _ .. :•v...~•ug oeat for Brown s •_.0 ••-c:Rergy, trans1t1onal rhythms. The result is a spectacular aural and visual experience. "I didn't use music much before because I didn't want it to dominate the dance. I had to develop the dance some more before I could put it into a situation where it would be marshalled," explained Brown in a New York Times interview. While she agrees that this is "a more complex presentation" than previous works, she no longer feels that music, costumes and sets will detract from her dance movements. She has developed a choreographic style of her own that has been described as having the same ''relaxed, noodle-ish look" that Twyla Tharp's troupe cultivates; but instead of exuding that undercurrent of theatrical purpose common to Tharp's works, Brown's dances emanate a basic delight in movement. Fluid, looselimbed, free of tension almost to the point of collapse, Brown's company dances for the sheer joy of it. On Feb. 15-16, the Trisha Brown Company will perform at 8 p.m. in UT)s B. Iden Payne Theatre. On the 15th the company will present Opal Loop and Son of Gone Fishin '. Opal Loop is an earlier, aurally-silent, · Brown work that relies heavily on contact improvisation, or the setting off of a new exercise as the direct result of physical contact. Son ofGone Fishin ', Brown's first dance to a full musical score (Robert Ashley's "Atalanta"), begins with a line of immobile dancers; as Brown dances past them, each displays the core phrase he or she will be developing throughout the piece. Every one of the dancers has his or her own dance, yet the dances intei:weave. On the following evening the program includes Decoy, performed in silence by four women who mirror each other in a series of running steps, springy jumps and rhythmic stamps, and Working Title, danced to Peter Zummo's commissioned score. Working Title, which will be reshaped and then finalized by fall of this year, has been described as ''initiating motion in one part of the body and allowing the rest to follow at will." Set and Reset will be presented on both nights. The Sharir Dance Company will open the show at 7 p.m. with Assemblage #1. SDC is an Austin-based stem group from the American Deaf Dance Company that has had the opportunity to work with an exceptional number of well-known companies and choreographers. During this season alone the company has performed with the Hartford Ballet and the Deborah Hay Dance Company, and worked closely with Margaret Jenkins of San Francisco in the restaging of Red Yellow Blue. Artistic Director Yacov Sharir's latest project, Assemblage #1, is an uninterrupted, 55-minute collage that includes a premiere of Four Legs, some sections from Seven Little nonces, a.ud Jenkins' Red YPll,....·· .o.-ue. fhe blending of the various dances will be interesting to witness. Tickets: $7; $6 UT and senior citizen . 471-1444 for information. Austin American-Statesman Saturday, March 26, 1983 Sharir.dancers tuned to sounds of voice By DEBI MARTIN Special to the American-Statesman You've probably never felt like doing the two-step to a conversation with a friend. You've probably never even thought about it. Ifnot, you may be surprised tonight if you go to the Performing Arts Center. All the dances on the bill will be accompanied by a variety of verbal utterances -oohs and ahhs, poetry or just plain conversation. The show marks the premiere of The Sharir Dance Company, formerly The American Deaf Dance Company, which is now composed of both hearing and deaf dancers. Tonight's bill includes four modern dance pieces, all using words for different reasons. YACOV SHARIR chose Luciano Berio's "Sinfonia" to accompany his first work for his new company, "Collage." Performed by the New York Kasandra Green, Dan Silver of Margaret Jenkins Dance Company. Philharmonic, Berio's score includes verbal orchestration by the Swingle Singers, a European choral group which translates full orchestra pieces using jUst the voice. Sharir describes "Collage" as having "the atmosphere of a European piazza, with many people speaking different languages and meeting with different ideas, with various intents and tones, from innocent greetings to the stirrings of revolution." HE CHOSE "Sinfonia" as accompaniment because it reminded him of the revolutionary atmosphere in Europe dqring the '60s. "People read a little Karl Marx and Friedrich Engels and thought they needed to be more aggressive," he said."They misunderstood the process of revolution. They were just young, had a lot of energy and wanted to do something. "Berio's score reflects the overall political confusion of the '60s in Europe. You hear French, Italian and German accents. It also is a homage to Martin Luther King and the positive thin~ he stood for. King preached social change through understanding, not aggressive activity." IT'S AN UNUSUAL mix -words, revolution and dance, but Sharir has added one other element-some of the dancers in the work will wear one toe shoe. He explained that this adds to the collage effect by providing contrasts. "I wanted to extend technical possibilities to the extreme. The same steps look different on a fiat foot than they do on toe." Also on the bill is David Gordon's "Just Passin' Through," which also uses verbal material, not just for atmosphere, but to reveal another dimension of the work. When Gordon created the work for the Sharir company last January, he recorded rehearsal conversations. He then mixed the tapes with Glenn Miller's "In the Mood." The final mix with the dance provides a look into the process of creating dances, the ·comp~ny dancer's interactions and an unusual aural effect. GORDON IS A well-known modem choreographer, often referred to as the "clown prince of dance" because of the witty physical puzzles he constructs and his ability to toy with the multiple meanin~ of language and movement. Sharir's guest on the bill is the Margaret Jenkins Company from California. In Jenkin's "Harp," a playful piece performed with upbeat tunes by Sonny Terry and Brownie McGhee, the dancers will utter exurberant noises. In "Versions by Turns," they move to poetic phrases. Prominent poet Michael Palmer has collaborated with Jenkins on the verbal material for the latter piece. The Sharir Dance Company and Margaret Jenkins Dance Company will perform tonight at 8, at the Performing Art Center. Tickets are $8, $7, $6 and $5, with $1 off for UT students, senior citizens and UT Department ·of Drama subscribers, and available at the Texas Union, Erwin Center, Northcross Ice Rink, Paramount Theater, Sears, all UTTM outlets and at the PAC box office. • Photo by Alan Smith Margaret Jenkins' Red Yellow Blue will be performed by the Sharir Dance Company Thursday through Saturday at Capitol City Playhouse. Success in motion San Francisco choreographer works with flair By DEBI MARTIN Special to the American-Statesman Many artists feel put on the spot when asked to comment about their works. As some see it, they do the works, and it is up to entertainment reporters and historians to find the words to describe the works. This artistic reticence is particularly challenging when dealing with dance, a non-verbal art form in which there is no text to quote from, rarely a plot to point to, and, as with modern dance, a highly individualized mode of moving that is not conducive to convenient labels. IN A RECENT telephone interview, choreographer Margaret Jenkins had this to say: "It's dishonest to talk about dances. We (choreographers) have chosen a non-verbal field for a reason. We feel language does not deal with what we want to say adequately. Language just doesn't do it for me. If it did, I would sit in a room and write because that would be much easier than creating dances. So when someone says, 'Tell me about your dance,' I say, 'Come see my dance,' . . . I just want people to see what it is I do. What I don't know how to do is talk about my dan~es. "I prefer people to come and be open to the work. I say, 'Let the Qance wash over you and see if there's a reaction.' People come to dances thinking there's a message they have to get. Audiences are smart people. They're not any different from choreographers, they just do something else with their vision." But Jenkins did offer some illuminating comments on how her 1978 work, Red Yellow Blue, which will be performed next week by the1 Sharir Dance Company, was inspired. "I went to a retrospective of Jasper Johns' works and I became fascinated with how people circulate at an art exhibit. I believe the work is about moving in a large space watching other people watching the works. It also refers on and off to thin~ in Jasper Johns' works, and he deals with everything from the concepts of numbers to hidden objects. I was moved by the breadth of information he explores, but there's no one particular Jasper Johns concept being dealt with (in the dance). I prefer not to tell more. I think there are enough thin~ in the piece that the piece should hold on its own. Dances should exist without program no~es." Enough said. ALTHOUGH JENKINS says her expertise lies in her use of -movement and not words, she has used words, in the form of poetry, to accompany her works since 1974. Michael Palmer, an esteemed poet in San Francisco where Jenkins' company is based, has collaborated with Jenkins on more than 11 works. Palmer and Jenkins' collaborations are more sophisticated, artful and complex than simply having a dancer move while poetry is being recited live or on tape. Dancemagazine critic Janice Ross wrote, "The overlay of Palmer's poetry (with its demanding leaps of logic and image) and Jenkins' choreography (thick with speeding phrases) fills the stage with more information than most pairs of eyes and ears can take in at once." Palmer collaborated with Jenkins on Red Yellow Blue. "We both went to the Johns retrospective and when we came back we were both interested in reflecting our experience of seeing the show," said Jenkins. "I listened to what he'd written, he saw the movement I'd made, he went back and wrote more, I choreographed more, and we went back and forth like that until the piece was done. The scores that he writes are written in conjunction with what I'm making, so I don't; go find something he's written, we collaborate. "I'm not particularly interested in poetry and dance. What interests me is Michael's poetry. I've never read anyone else's work that interested me so much in that I wanted to work with it and dance. What's intriguing is how he investigates the meaning of words, the imagery in words and the emotion in that imagery and how the words are put together in ways we don't normally perceive as ways of putting language together. He juxtaposes his language. He comes up with very powerful impressions, he creates a field of information, very textural, layered with meaning -which is what I hope my work is like too." IN THE 1960s, Jenkins was one of the foremost teachers of the Merce Cunningham technique and one of the three original members of Twyla Tharp's company. In 1974, in her hometown of San Francisco, she formed the Margaret Jenkins Dance Company, a company that has become known as the role model and focal point for several of the postmodern dance groups in San Francisco area. When Jenkins' company began performing regularly in San Francisco, her situation was not unlike that of Austin's own Deborah Hay, who also made her See Jenkins, Page 56 ..... I t •I t. I'• Sunday, Novembe 25, 1984 Austin Amarican-Statesman Choreographers work on making poetry motion Program allows .artists to,talk to the audience By DEBI MARTIN Special to the American-Statesman Isadora Duncan's inspiration came from listening to classical music and watching rhythmic waves off the California coast. Bel la Lewitzky has said that she is inspired by the movements she invents while she's cleaning house. And George Balanchine, the choreographic genius of 20th century ballet, preferred to talk as little as possible ab9ut how he made dances. "God creates," .he once said, "I just assemble." Each choreographer has his or her own way of getting started on a dance. Some choreographers begin with a vision, an idea: It could be a storyline they'd like to see acted out in dance or a purely visual notion that mirrors the movements in a piece of music. Other choreographers are inspired foremost by the dancers they are working with. They have no plan of action in mind until they see the dancers. ALTHOUGH INSPIRATION and subject matter may vary, each ·dance maker is in volved in constructing a multi-dimensional, moving work of art. The process is about making choices and solving spatial prob lems. It's about deciding if the dance should go to the music, and if so, how much, and how long a sequence should continue and how much it should change. Choreographing a dance on several people is like directing traffic. If two dancers leap downstage, what happens to the four dancers already in that space? Choreography is also like playing a game of chess, you've got to keep plotting moves in advance so that nobody runs into anybody else during the dance -unless, of course, that's what you want them to do. There are other choices for a choreo-. grapher to consider, like which dance style to work in -modern, ballet, jazz, to name a few -and how and if those styles should overlap. They have to decide what rhythm or tempo the movements are to be pertormed in, and if those movements will be percussive or flowing. And once all the elements start to fall into place, a choreographer is like a sculptor who keeps rearranging bits of clay until the piece looks just right to the eye. This editing process often occurs on-the-spot, while a crew of dancers stand, stretch and wait for the next choreographic command to be uttered. The art of choreography and the process of creating dances will be the focus Wednes day night when the UT Dance Repertory Theatre and Sharir Dance Company open Dance Works in Progress. The presenta tion wili'follow a lecture/demonstration for mat. Before each dance is presented, the process that went into making the piece will be explained. THIS SHOW IS perfect for people who feel they just don't know enough about dance to appreciate the art form, as well as anyone interested in learning more about the choreographic process. In years past, the works in progress shows have been successful, instructional, enlight ening experiences, and the discussions have usually centered on works by UT dance fa culty members whose works we see year Staff Photos by Taylor Johnson Holly Williams' Spillway, features from left, Kelley McNamee, Cindi Reaka and Kari Wiedower. This is a time-exposure photograph of the dancers. the Arts round. But this year, of the the thr'"'P m· J ,. works on the bill, two are by guest artish from out of town, Holly Williams of al as and Margaret Jenkins of California, anc one work is by guest faculty member and ballet instructor Sondra Lomax. Williams, a former member of Laura Dean's dance'company, has choreographed works that have been favorably reviewed bythe New York Times. Her last performance in Austin was more than a year ago on a bill with Dee McCandless' Invisible, Inc. dance troupe. She recently moved from Houston to Dallas. Williams initially created her piece on the Works bill, Spillway, on the students she teaches at the Arts Magnet High School in Dallas. She reworked the piece last summer when she taught a repertory class to dance students at the University of Texas, and then reworked it again to accommodate Dance Dancers strike a pose in Margaret Jenkins' Red Yellow Blue. This dance was inspired by works by artist Jasper Johns. Repertory Theatre members, who will perform it on the Works program. In a tele chance to do partnering\nd lifting because I and five women, so I had to shift things ferent groupings. phone interview from Dallas, she explained wanted to take advan.tage of having tall men around a bit. I had to change certain things how she choreographed Spillway. who could lift. But I didn't want to get into to accommodate the pe"Ople now involved, "In a real vague sense, I knew this dance "WHEN I DID the piece on students last male-female stereotypes, so there's a lot of but I maintained all that contact because it was to be about people being together or not summer, I had three tall men and four small males lifting males. There's a Jot of (body) ended up being the sub-text of the piece -being together. Basically, I tend to createwomen," said Williams. "So I leaped at the contact in the dance. Now it's set on two men which is about different relationships, dif-dances that are about people. I use shape Sondra Lomax, UT's guest .faculty member and· ballet instructor, choreo· graphed Quinfeffe in the Works program. Pamela Shultz, left, and two others dance this piece. and line to hopefully express a bigger purolder bodies that can do more than younger pose than just the dance, and say things dancers can. about people. This piece shows people meeting in various groupings. When one per"I USUALLY PLAN what I'm going to do son is off by himself, that makes a strong ahead of time. I put most ot the movement statement about being left out of the group. on myself first, then put the movement on "I always work closely with the people I'm the dancers, reshape it, and go from there. I choreographing on, so I don't know what I'm don't walk into the studio and get my inspiragoing to do until I get in the room with them tion. It's more deliberate, thought-out." · and we start working together. I'm not the Besides being a trained ballet dancer and dictator type, I get information from the choreographer, Lomax is a dance scholar. dancers. I don't say, 'The arm is just so,' I ~ee She is the secretary of the National Societywhat people do by themselves and then I of Dance History Scholars. She has a bache clean it up. I don't use improvisation at all. I lor's degree in ballet from Texas Christian give them something to do the first time, I University and a master's degree in dance look at what they do, and then work out a history from York University. She is a formiddle ground. I don't want my dancers to mer member of Les Grandes Ballets Canadi be character types, so I give them moveens, where she performed works by Balanment and I expect their personalities to chine and Petipa, as well as more contemcome through. porary works. The third major piece on the Works bill "IN TERMS OF Spillway being a work in will be Margaret Jenkins' Red Yellow Blue, progress, I doubt I'll go back and play with it. a dance inspirea by a retrospective of worksThe work is set. The dancers will just have to by artist Jasper Johns. According to pressgrow into it. It's a very difficult piece, very information. her piece will embody he imfast, the dancers are still on the edge of getpressions of Johns' works, and her obc; rting through it. .They haven't sunk into the vations on how other people have re rt acomfort of doing it yet without worrying his works. Her dance is set to music and aabout it. Because I work so closely with the text by Michael Palmer, a poet Jenkin5> hmusic, the dance is rhythmically complex collaborated with for more than 10 yea.rr. I think it's a challenge for dancers to have Jenkins, who was unavailable for con1something that structured, that complex, that moves fast." ment on Red Yellow Blue, is a nationa 1 known choreographer who received ~ G.. ~ genheim Fellowship Award for her cho:-t< \,Villiams' Spillway was partially inspired by the complex, rhythmic structures in its raphy in 1980. She has performed with Vit • musical accompaniment, the concerto by Farber. Twyla Tharp and Gus Solomon~ .,r and in 1973, she formed a nine-mer:i Antonio Vivaldi in D minor. But for Lomax music played a much larger part in her ere~ company. The Margaret Jenkins Da\11.,. Company last performed in Austin in Mar ation of Quintette, a neo-classical ballet 1983. which will also be on the Works bill. JENKINS' PIECE ON the Works bill will"I got my whole inspiration from a string be seen as a finished product in a concert inquartet by Franz Schubert," said Lomax. "I February. Quintette and Spillway will be have a series of signature movements that presented again in April. are easy to recognize that go with the music and I'll point them out in the lecture before At the Works show, Dance Repertory we present the dance. It's a theme and variaTheatre artistic director Sharon Vasquez tions piece. There's a lot of counterpoint and will discuss Jenkins' and Williams' works. variations on the theme -a dancer will Lomax will introduce her own piece. Works come along and continue the movement or by advanced dance students will also be on go off and do a variation on it. It's all very the bill. abstract. It's just movement flowing from Dance Works in Progress will be pre one body to another. sented at 8 p.m. Wednesday through Sat "I did the piece originally on younger urday in the UT Winship Drama dancers. I was interested in reworking it, Building's Theatre, 23rd and San Jacinto and it was a challenge to reset it on these streets. Sharir ·grafts abstract accents onto dance traditions I By EBI MARTIN tral perspective. In classical ballet the eye· formed the Sharir Dance Company. which serve as the only music. Special to the American-Statesman is persuaded to watch two central figures debuted .at the Performing Arts Center in "They will carry the sound with them,'' who are framed by a symmetrical, uniMarch. ' If the figures in a Jackson Pollock or Wil Sharir said. "When the dancers move, they form, corps de ballet backdrop. But in a lem de Kooning painting could dance, they "Dance is dealing with the interaction of will emphasize the rhythmic pattern and Sharir dance, because there are so many would move like Yaoov Sharir. While some forces that contrapomt each other," said level of activity. When they slow down, the . dancers in so many positions all over the choreographers devise compositions that Sharir, ~ho views the relationship between sound will slow down. stage, there is no c·entral viewpoint. One visually express musical rhythms or poeti dance and music in a similar manner. Of da:ncer, who i!'; executing a movement by " 'Circles' is peaceful, but there is noth cally portray emotions, Sharir, a chweo ten, his musical accompar11ment contrasts ing peaceful about 'Collage.' It is full of moreacbij'tg toward the floor, is contrasted grapher and dance professor at the with the dance, rather than complementments of destruction and disorder." with another one who is standing er~ct. University of Texas, sculpts his dances ing it. Sometimes the effect is surprising. If "Collage" is packe9 with jagged, angu much like an abstract expressionist deSharir's dance vocabulary -which inIn 1980 whe11 he premiered "Percussion fines Space n a canvas. cludes the geometric .grac._e 9f ballet, the Concertcr II'' on the Austin Civic Ballet, the lar edges, "Circles" is a portrait of unity, fast footwort folk .clanc~ aM Pl obolus-· dancers hadn't heard the music before wholesomeness and serenity. The stage i l\ rJr's miflti-dimensional, style aero atics ~ i n't bquncf J;y.· labels. the curtain went up. kinetic canvas. SHARIR NOT ONLy produces works His background is as ecletic as hits danc~ "What is fascinating about 'Collage' is I with contrasting elements, he also experi"Brush strokes and the, colors and lines style. • .. am choreographing a dance because I like merits with styles. in an action painting." said Sharir, "can be He studied sculpture and ceramics ut the the music -! for the most part it's been the· translated into a rhythmic pattern and into "All these possibilities are attractive. In Jerusalem Bezalei Academy of Fine Arts. reverse. I create the dance and then go find the kinetic form of dance.'' to "Collage,'.' a the course of creation, tbe tendency is. As a member of the Batsheva Dance Commusic for it. Luciano Berio's symphony dance he will present at_ the Capitol City first, to do what feels good, and second, pany for eight years. ·harir, an Israeli, per(which features the Swingle Singers), has Playhouse Thursday, "There are isolated what looks good. In order to find new mate formed impo~'lnt roles in works by some all these layers of $OUnd, of forces and dancers, who suddenly come together and. nal I use movement that feels most awk o( the most prestig_i~u.~etforeographers of words co-existing in one composition. He then split apart again," he said. "The dra ward to me, because that means I haven't this century -John Cranko, Martha Grahas different people talking in different ma is in the movement material ana it's· done it before. I do this because I don't ham, Pearl Lang, Jose Urpon. Jerome Roblanguages at different times and it's a new about different forces relating to one an want to get stuck with a label like the post bins. Anna Sokol~w·and Glen Tetly. kind of harmony.·· other in one space and what happens when modern dancers are. I want to be able to do they come together -how· much they inpieces on the texture of silk or dogs barking IN 1976 HE became the artistic director SHARIR'S DEFINITION of what consti terfere with eacff other or influence each ,or put dances on in which some dancers of the American Deaf Dance Company of tutes musical accompaniment is also unu other or how crowded the space becomes wear only one toe shoe." Austin, which was the fir~t professional sual. In "Circles," which also will be on the • o o y an mith .with all those elements." Choreographer Yacov Sharir is creating dances that challenge the tradition. .. company for deaf dancers in this country. bill at Capitol City Playhouse, the jingle The Sharir Dance Compct.ilY wi/J peral values of symmetry and the central perspective, scattering his dancers SHARIR SAYS HIS dances defy the tra:Mter he and' e Al>DC thought tbey had and jangle pro.duced by th_e anklets and form at 8 p.m. Thursday, Friday [!nd Sat~ and contra.sting their movements. , ditional. notions of symmetry and the cen-pr.oved deaf people could dance, Sharir bracelets the danc·ers will be wearing will urday at Capitol City,P.f I 'I J ( I I It I { f I J ; ,' I ~ I Friday, January 27, 1984 Sharir Dance Company College of Fine Arts The University of Texas at Austin LISTINGS name to Sharir Dance Com· )creating symmetrical formapany in 1982. In the 7 years 1tions and fluidly moving outI that ADDC had performed, of the forms into individual Sharir's choreography and movement. Sharir's second his dancers' skills drew acdance will be "Circles," claim from critics and auwhich premiered in 1979 by diences alike. Now Sharir ADDC. "Circles" is perDance Company can make 1formed to the accompaniits own waves. The program ment of dancers jinglingSharir Dance Company, includes two dances choremeta·1 bracelets and Capitol City Playhouse, 214 ographed by Sharir and one Ireindeer·bell ankle cuffs. W. 4th, 472-2966. Jan 26-28, 8 by David Gordon. Sharir's Gordon's "Just Passin' r: pm. Feeling he had achieved "College" is set to music of Through," which the com-at Capitol City Playhouse 8pm·, January 26·28 his goal of making deaf Ithe same name by Italian pany performed in Austin . Choreography· David Gordon and Yacov Sharir dance a recognized possibilavant-garde composer Lu· last March, received praise ity in the dance world, ciano Berio. The music from reviewer Stephen Tickets available at Movin' Easy, choreographer Yacov Sharir mixes levels of sound and Bonin for its "exciting, un 706 West 29th Street, Monday-Saturday, opened his American Deaf political phrases as the predictable and funny"10-6, 4 76-0980. Also available at the door. collage-costumed and Photo by Alan Smith Dance Company to hearing dancers mood the technical Information, 472-2966 dancers and changed the _move abo~!_he _s_!_~~· skills of the dancers. The Yacov Sharlr Dance Company performs with bells on. This program is made possible by the National Endowment for the Arts, the Texas Commission on the Arts and the City of Sharir Dclnce Company crafts Inotion into art By DEBI MARTIN Special to the American-Statesman Review Per capita, Austin has the third largest dance community in the which features overlapping voices country, which means that there are shouting revolutionary slogans. The more dance concerts staged in Ausdancers move like a caucus of pas tin any given week than in Houston sionate leftists who cannot agree on or any other city except New York anything. They are staunch individ and the San Francisco Bay area. We ualists. Next to each other, they are a have got quantity, but Austin dance visual representation of tension. productions vary greatly in quality. More contrast is provided by dancers who wear only one toe shoe. In my three years of reviewing The leg on point is a counterpoint todance in Austin, I have found the the one that is wearing a ballet slip·work of choreographer Yacov per. Sh&Tir, considering local standards, to be consistently professional. BeSHARIR ALSO has good taste fore he formed the Sharir Dance when it comes to choosing people to Company, which played at the Capistage pieces for his company. David tol City Playhouse Thursday, Sharir Gordon's "Jus' Passin' Through" is directed the American Deaf Dance an excellent piece of humorous so Company. cial commentary on the rituals of so cial dance. To Glenn Miller's "In TheSHARIR CRAFTS movements like Mood," the dancers wrap, lean onan abstract expressionist painter de and jump around each other in an The Sharir Dance Company performs works by choreographer Yacov Sharir fines space on canvas. His figures abstract form of jitter-bugging. Su Jan 26-28 at the Hyatt Regency Ballroom. are charged with feeling not only in perficially, the dance looks simpleterms of their relationship to each and mechanical. But a lot of concenother, but also where they are in trated coordination is required tospace and when and if they collide. pull off, with pep, the elaborate en· Without characterization or any kind THIRD COAST JANUARY, 1984 semble sequences. Also, when theof narrative, Sharir's pieces are nevdancers lean on each other and disertheless filled with the drama of tribute their weight in risky ways,tricky, daring partnering and lyrical the insecure equilibrium of peer resections juxtaposed to angular ones. lationships is suggested. "Collage," which was on the bill Thursday, not only exemplifies SharThe Sharir Dance Company will ir's style, it sums it up. It is the physiperform at 8 tonight and Saturday cal embodiment of the Luciano at Capitol City Playhouse, 214 W. Berlo score that accompanied it, Fourth St. GOLDEN GA A TRIBUTE TO .... ... ~ -IGOR YOUSKEVITCH 0, CYNTHIA GREGORY NTUONO I 1982 • ORMING ARTS CENTER CERT H /l'l--11~ jy . / DEPARTME · Fr.lday, July 29, 1977 Austin, Texas Observations on SPECTRU Deaf Dance Company By centration of the dancers. MARVADENE BROCK There was no music_, only At the first rehearsal I movement. Each dancer attended of the Deaf Dance seemed intent on following a Company's premiere ballet, rhythm that couldn't be "Interactions 1 2 3 4," I was _heard but had to be felt instruck by the quiet con-ternally. I felt I was wat ching a pantomime of unwinding energy and time. Yacov Sharir, the ·choreographer and director, stood to the side, silently watching. There had been no shouted commands, no talking before the dancers began. They had taken their positions, and he had walked to a large drum and started pounding a steady beat. With the vibrations lingering in the air, the dancers had felt the beat and started the dance. After a few minutes, Sharir stopped beating the drum but the dancers continued their interweaving and disconnecting patterns. Working on several planes, the dancers created sculptural shapes in space· with their bodies. Some of lthe dancers lay on the floor while others stood very straight or stretched diagonally. Gradually a texture emerged from the contrast in movements and timing. At one moment there were long exploratory stretches, as if the dancers were trying to extend the perimeters of their bodies and the space enclosing them. This phrase was fractured suddenly by a staccato movement of one arm undercutting the other, a foot kicked out sharply, and the whole body twisted with feet in place and arms extended. Part of the group scattered frantically while three dancers walked slowly to the center of the room from opposite directions, one foot in front of the other and their arms balancing them as if they were walking on a tightrope. So the dance went. Unison movements broke up into individual movements, with some phrases repeated by several dancers while new ones were introduced as solo movements. The group came together in square and circular patterns, then split into random shapes that bisected and intermingled. Slow languid bends alternated with dynamic thrusts of arms and legs, jetes, walking, running, rolling and sweeping movements. At the end, everyone stood still and looked at Sharir. He then went to each dancer to offer comments and correction. There still was not much talking, either orally or by sign language. While Sharir was working Please see page 6 SPECTRUM Deaf Dance Company in motion. Photos \by Danny Scheer Richard Roundtree, who may be etter nown y t e name of a character he made famous, "Shaft," has found his niche on the stage, saying that stage acting is ichar the most rewarding form of acting to him. He will appear with Leslie Uggams in Theatre South's production of "Guys and Dolls" Sunday at the Paramount, and he tells what tremendous appeal the show holds for both actors and audience in JohnRoundtree Dustin's column, page 3. then Sharir began the dancers showed so much By MARVADENE BROCK process of recruiting other progress in class that he Special to The Citizen deaf dancers. decided to present a full evening's program. He Most people define danHe traveled to emphasizes that the com cing as a pattern of rhythmic Washington, D.C., and New movements, usually in York City to interview inpany members still can't be response to the rhythms of terested dancers from the recognized as professional East Coast. Among those he dancers, but they havemusic. But what if a dancer developed great abilities in acan't hear music and has met were Linda Herenchak few months. He says, "It isnever experienced the from New Jersey and Mario Illi of Syracuse, N. Y. Both very interesting the waysensation of rhythm? Does they move, the expression ... this mean that he or she moved to Austin to join It just grows and grows." can't dance? SPECTRUM. Yacov Sharir, a free-lance Rita Corey, Sandi InchesSharir explains that although deaf people lack a choreographer from Israel, Norris and Susan Jackson doesn't think so. Eight have joined the group during sense of hearing and rhythm, months ago he came to the past months, and more they possess a rich sense of Austin to establish a national dancers are expected to join visual communication within the next year. essential to dance. They aredeaf dance company, the Eventually Sharir would like used to demonstrating theirfirst of its kind in the United feelings through facial, hand States. SPECTRUM Deaf to have a company of 20 Dance Company will present dancers plus other teachers. a body gesture. He presently has to serve as The premiere ballet that its premiere performance artistic director, Sharir has choreographedAug. 6 at 8 p.m. in Hogg Auditorium. choreographer, teacher and for the company, The dance company was manager for the company. "Interactions 1 2 3 4," emphasizes this tremendous formed as a part of SPECWhen the company has TRUM -Focus on Deaf ·proved itself and gained sense of self-expression. Its theme of human interactions Artists, a non-profit coradditional support, Sharir hopes that he can transfer and confrontations wasporation based in Austin that was organized to encourage some of the administrative generated by observing the and support deaf artists in and teaching duties to intensity and variation of various programs. Janette members of the deaf dance deaf expression. "But a dance can't funNorman, vice president and community. SPECTRUM one of the founders, met stresses deaf leadership in ction only visually,'' Sharir Yacov Sharir, director Yacov Sharir at the Seventh its organization, and Sharir states. There must be some and a sculptor. Last year he further his studies of dance, is one of only two hearing sense of rhythm to bind it. World Congress for the Deaf The dancers must be able to had a very successful oneSharir traveled to France, in Washington, D.C., in 1974. leaders. Sharir was touring the U.S. Most of the company's move together and follow man sculpture show in Tel Holland, Belgium and the each other in rhythmic Aviv. He sees a correlation U.S. then with the Demama dancers never danced before between dance and sculpture In 1970 he joined with Group, an Israeli company this past year. They were progressions. of professional deaf dancers. recruited for their desire to In class Sharir beats a and would like to teach a Moshe Efrati to found the course combining sculQ_ture Efrati Dance Company. HeSPECTRUM -FODA was dance rather than technical large drum to set up a rhyth m. Although the dancers and movement. directed the ballet school of in its infancy when Ms. ability. Many of the dancers Norman met Sharir. Bufthe are involved in the visual can't hear the drum, they Born in Morocco, Sharir Kiron, which is part of the organization grew, and last arts or theatre, and all are can feel its vibrations in the graduated from Jersualem Efrati Dance Company Bezalel Academy of Fine Association. fall Sharir came to Austin creative individuals. In air. So they sense the beat with support from the order to train as dancers, physically. They then set up Arts with a concentration in Three years ago he National Endowment for the' they have had to sacrifice a rhythm by counts using the sculpture and ceramics. He stopped dancing pro Arts and the Texas Commuch time and effort. lingering vibrations as ocstudied modern dancing at f essionally and turned to mission on Arts and Working at various jobs casional cues. This allows the Jerusalem Academy of choreography. In the past Humanities. SPECTRUM during the day, they have them to move independently Music under Haisia Levy two years he has Deaf Dance Company then! had to hold classes and of each other but still and at the Bathsheba Dance choreographed works for maintains a sense of unity. Company School of Dance. several ballet companies, became a reality. rehearsals at night. Sharir admits that the He danced with the among them the Bathsheba Three dancer... -Bonnie Currently they are rehearsing three hours every dancers' physical reception Bathsheba Dance Company Dance Company and theRamsey, Martha Remley, and Rosie Serna -were week night plus rehearsals is not very sophisticated yet for eight years and appeared Israeli Ballet. In June 1976, -that will take years to in works of Jose Limon, Glen the Israeli Ballet performed waiting for Sbarir when he on the weekend. develop. For now he has to Tetley, Martha Graham, what he considers his most arrived in Austin from Tel At first, Sharir planned to Aviv. Classes were have the company present use a combination of visual Jerome Robbins, John organized for these people, just a demonstration. But the contact, drums, and music in Cranko and others. To (See page 7) Citizen Marquee Sharir, from page 6 jsignificant creation, a full evening's ballet entitled "Homage to Jerome Robbins.'' The work was done as a special commission for the Israeli International Festival of Music, Ballet and Theatre. Sharir has been rehearsal director for the Demama Deaf Dance Group in Israel for more than five years. He expresses surprise that such a dance company has never been formed in the U.S. "There are 17 million deaf people in the U.S.," he states, "but the only performing art group they have is the National Theatre of the Deaf. Why?" Yacov Sharir intends to do something about the Sharir, dance company members limber up. Photos by Danny Schweer situation. Concentrating on want to do dance therapy," formance. Although he is deaf dancers' abilities rather he says. There is no pity in only in the first stage of a than disabilities, he is his approach to the dancers. long-term project, Sharir is building a professional deaf He tells them to pull encouraged by the dancers' dance company. He em-themselves together, dedication and progress, and phasizes the company's because the audience will he is confident that they can professional goals -"I don't expect a polished per-become a strong company. Joint Performance SPECTRU n Deaf Dance Comp with ALLAS BALLET George Skibine, Artistic Director Dance of Dawn Choreography by Yacov Sharir Music by Priscilla Mclean Homage to Jerome ·Robbins Choreography by Yacov Sharir Music by Miloslav Kabelac Interaction No. 2 Choreography by Yacov Sharir Music by Marius Constant Rite of Spring Choreography by Brian Macdonald Music by Igor Stravinsky March 31, 8 p.m. I Hogg Auditorium Co-Sponsored by UT Department of Drama Tickets, $3.50 ($2.50 Students) at Hogg Auditorium Box Office, 24th and Whitis 471-1444 10 am-6 pm Mon.-Fri. iPE,TR~M ~E~f ~~~'E '"MP~~y Artistic Director: Yacov Sflarlr W~rld Pr~~i~r~ P~rfgr,..g"'~ g"d ~~~Q,.,i\rg\ig" August 6th Sp.m. S3.oo tickets: Hogg Auditorium, Univ. of Texas Advance Tickets are Available at: Hogg Auditorium (Upstairs), David's Station, Inner Sanctum, Armadillo T-Shirt Store Page 17 Page 18 Deaf dancers hear a special kind of music By Will van Overbeek with Vicki Dorries The Spectrum dance company dances with music. The audience can hear the music, but the dancers can't. The company, directed by Yacov Sharir, an internationally known choreographer, is America's first professional deaf dance company. The dancers sense the music by feeling the vibrations in the air. "The music is mostly percussion compositions and it vibrates the air. We use the vibrations to cue the dancers," Sharir said. Sharir's dancers will never hear the music they dance with, but the music is used another way, Sharir said. "The dancers go parallel with the music. The dancers don't follow it, but it creates a certain atomosphere," he explained. The dance does not necessarily follow the music Sharir chooses, but harmonizes with it. "Sometimes I just decide -oh, that piece of music will be good, because I like the music and I think it will fit the subject, so I use it. Sometimes I don't hear the music until one or two days before the performance," he said. None of the dancers in the company are professionals -some have previous dance experience, most have none. Dancers are chosen for the company by their desire to dance more than for their experience, "mainly because there aren't (any professional) deaf dancers in the U.S.," Sharir said. "(We have) no auditions, because none of them has danced seriously before," he said. "Usually when you create a dance company, you go out, you meet the people, audition them and then choose them by their ability to dance." Sharir believes the desire to dance can be such a strong motivation, that it makes up for lack of experience. So far, it has been succesful for him. "Everybody who came to the company improved very fast and really proved he was serious to make that decision to sacrifice his life dancing" according to Sharir. The newest project for the company is a choreography workshop. "I'm trying to help them to choreograph, to express themselves, to pick subjects from their own world and not from a hearing point of view, and so they will understand more about dance," he said. Sharir wants to see what the dancers express themselves in their choreography through frustrations, universal subjects or specific personal subjects. "Once they have picked the subject, I help them out in the vocabulary (of dance), in choosing some of the movements. They deal with all the rest of it," he added. Sharir is pleased with the dancers' work. "They come to work and they really enjoy it. They are looking forward to that opportunity in the future to be professional dancers. They all really mean it-they want to be professional dancers." Photos by Will van Overbeek . 0, I Alistin Sun-August 25, 19·77 Spectrum Dance Company Movements in the Silence or Time Spectrum: Focus on Deaf Artists is a national organization whose major projects are a deaf dance company, a visual and performing arts school, and a community theatre serving deaf artists from all over the country. On August 5 and 6, following the second Summer Conference for Deaf Artists held at their ranch outside town, Spectrum scheduled a Deaf Arts Festival: two days of exhibitions at the gazebo on the downtown riverbank, a presentation by the Community Theatre followed by a barn dance, and the premiere of the Deaf Dance Company at Hogg Auditorium on Saturday night. by Nancy Kaufman Preliminaries: It is January, and I am sitting in the hallowed but grubby cubicle of an. upper echelon editor at the New York Times. To my horror, we are arguing. We are arguing about whether the National Theatre for the Deaf, which performed its super/.ati've Four Saints in Three Acts in Austin last year, is a fit topic for the "arts" section of the newspaper. Anxiety: I worry about the Spectrum dance company. Whenever any special interest group gets together, there is always the possibility that their work will more closely resemble therapy than art. (I am not thinking about ashtray making by schizophrenics, either; i am thinking of, among other events, a particu/.ar feminist art exhibit several years ago which had plenty of content but no formal qualities to speak of.) Besides, the dancers have been training for only seven months, working with Israeli choreographer, dancer and artist Yacov Sharir. That's not a very long time in which to learn to dance. I am curious about the theatre presentation and the barn dance, but not anxious. However, plenty of other people must have been anxious, for very few people not connected with Spectrum or with deaf education show up at the ranch. Fear (some of us prefer to think of it as pity, but it's fear): One of the hardest things about having a handicap must be dealing with me, with most of us: the so-called normal. we are afraid of handicaps, we are self-conscious in the presence of the handicapped. However, ifyou spend any time with the people at Spectrum, you will be surprised, at one instant or another, to find yourself wishing you were deaf, too. These artists make deafness seem not a handicap, but an asset. You'll feel left out, excluded from a club of warm and vital people possessed of an extraor • . dinary expressiveness. In the world of the deaf, you are the handicapped. The artists a~d administrators of Spectrum will try to include you. Through lip reading and speech, and through interpreters, you will be welcomed. D<"ncing: "Interactions 1 2 3 4" fa a full length dance, called a "ballet" in the. program, whose movem~nt vocabulary derives mostly from modern dance. Each section utilizes this basic "Interaction" · vocabulary, particularly emphasizing several symbolic gestures: pointing to the sky, pointing to the ground, silent screaming (which looks just like Edvard Munch's "The Scream," reminding us of the choreographer's background in art). The.musicMarius Constant for ··Interactions Nos. 1 and 3, Carlgs Chaves for No. 4-is, as the program states, "instrumental in creating an atmosphere to support the dance." Since I disliked the insistence on atmosphere in the dance, I was most captivated at the .beginning and end of each section, when the dancers moved through silence. Dancing in silence throws a marvelous emphasis on space and time-elements already present, .but sometimes ignored when one is seduced into "following" music. It is no coincidence that I often think I would like Merce Cunningham's dances better without the music, for there, too, the music is co-existent, a parallel event. However, these percussive compositions do offer some guidance to the performers, for the vibrations linger in the air, providing cues. Rita Corey, Linda Herenchak, Sandi Inches-Norris, Mario Illi, Susan Jackson, Bonnie Ramsey, Martha Re.mley and Rosie Serna were the performers, all very aifferent physically, and all used as individuals. Sharir has not made any apparent attempt for a conformity of style; instead, he seems to have encouraged each dancer to be as fully expressive onstage as he or she is in private conversation offstage. Sharir himself performed "No. 3," an improvisation. on -. "Interaction" called "Around One Point," to music by Miles Davis. He seems to perform this dance to make it clear that the vocabulary of "Interactions" is not just for deaf dancers, but for a hearing dancer as well. Because he is not deaf, his dan.ce is more about being deaf than the rest of ..Interactions.• " where the fact that the dancers cannot hear is interesting, but not the main issue. The main issue is dancing. And these are dancers. Backstage: There was plenty of noise out at the ranch, with music, simultaneous translations of some of the theatre improvisations, and then Butch Hancock and his band playing their fine music far into the night~-But backstage after "Interactions," as people stream up the stairs into the wings to congratulate the company, all is quiet. As I approach the dancers I have the sensation of entering a parallel universe to mine, where all communication is movement, and dancing never ends. WEEKLYARTS & ENTERTAINMENT SUPPLEMENT TO THE DAILY TEXAN September 12, 1977 Austin's peaf Dancers " ; , ........ E6 Austin merican·Statesman Friday, Apri 6, 1979 Signs become art for d af dance troup :.·· - By NANCY KAUFMAN Special to the American-Statesman The rehearsal studio is filled with dancers, and with the sounds of people jumping, turning, and sliding. Seated on the floor, a dark, curly-haired man is intent on very movement. Bob McMahon is learning a movement sequence, mimicing his teacher-partner. He pauses, watches, then walks over and puts his hand on her hip to feel the correct placement. Bonnie Ramsey works at the front of the space, body in a perfect split, head on her knee. Two years ago she was bouncy, sunny, her movements unconnected. Today she is a graceful, grave woman with the smooth strong body of a professional dancer. The man on the floor straightens up. He slaps the floor twice. The dancers assume positions for the beginning of a run-through. There is still some activity in one corner. "Don't talk anymore," he. commands. "Move." His has been the only voice in the room, for this is The American Deaf Dance Company at work. The nine dancers are all busy signing to each other. " Go, move, shut up and stop talk ing," he urges again. He is Yacov _Sharir, the company's artistic director and choreographer. A Moroccanborn Israeli, a musician and SLUlptor before he was a dancer, Sharir is dedicated to the idea that deaf people can become professional dancers. A linguist not only in words but in signing, he has choreographed for deaf dancers in Israel, and for hearing professional companies from Tel Aviv to Dallas. -Saturday at 8 p.m. at the Para . mount Theatre, The American Deaf Dance Company, will perform with guest artists Dee McCandless and Gene Menger. On the program will be two works by Sharir, both new, and Michael Uthoff's "Ode to Jose." Set to P achabel's "Canon in D," the dance was a formidable challenge for the company, and an important first step in Sharir's plan to have them work with many professional chore9graphers. Sharir is a artist who has a special gift: he expresses his humane vision not only through his art, but through where and how he chooses to work. He is dedicated to his company. They reward him with their success. The American Deaf Dance Company was, two years ago, a collection of deaf people learning to be dancers. Now they are well on their way to being dancers who happen to be deaf. The problems in communication -with their choreographer, with each other, with any music that may be used -are great for deaf dancers, but they are balanced, in part, by one of the particular aspects of deafness: for the deaf, communication is movement. Sign language is a irects the American Dea~ Dance Company continuing /symbolic, improvisa-noon, and at the Paramount from tional danc~ involving the hands, noon on Saturday. For reservations, arms, and tape. call ?pectrum at 288-1888 1 Sharir slaps the floor again. The Sharir, who rarely performs, will dancers turn to face him. "Go, also dance tomorrow night, in a duet again, don't 'give up," he says and choreogrpahed with Dee McCand-signs. The audience, too, will sign on less, his partner for the evening. Saturday night, applauding with Gene Menger and Jerry Willingham hands over their heads, waving are musicians for all but the first programs or handkerchiefs. As they dance. Tickets are available ($3.50 look out into the audience to take general admittion $2.50 students) at their bows, the dancers will be able Hogg Auditorium until Friday after-to see the sound of applause. \ Dr. Betty G. Miller Director of the Visual & Performing Arts School Dr. Betty G. Miller was born in ~hica~o, Illin<~is, .the third child of deaf parents. Her father is a professional deaf artist. A hearing loss was discovered when she was in kin dergarten. Shortly thereafter, her parents sent l~er to ~l school for the deaf where she learned speech, lipread mg, and "very little else." Dr. Milk:r graduated with honors from Gallaudet College in 1957. She was offered a teaching position there in 1959. She continued with her studies and in 1963 she received a MFA in Studio Art from Mar)'land Institute College of Arts in Baltimore. In _August 1976, sh~, C<,trned her doctorate in Art Education from Pennsylvarna State University. . Dr. Miller was active in community theatre lrom 1958 1970. In 1969, she received the awards of Best Director, Best Play, and Best Supporting Actress in a competition with tw~nty ot~er community theaters (all of which were hearing). . During the last five years, Dr. Miller has devoted much of her time to visual arts and in 1972 she presented a one woman show at Gallauclct College. Dr. Miller moved to Austin in May of 1977. She will head the Visua 1 and Performing Arts School in Spectrum, FODA Center. J. Charlie McKinney President ) .Charlie McKinney was born in Liberty, Pick-ens County, South Carolina. He is profoundly deaf as a result of scarlet fever which he contracted at six months of age. He graduated from the South Carolina School for the Deaf in 1960. In Washington, D.C. , he attended Gallaudet College where he received a B.A. in History with a minor in Education. In 1964-1965 he was n«lmed to Who's Who Among Students at American Colleges and Universities. Mr. McKinney went on from Washington D.C. to teach at the New York St·ate School for the Deaf at Rome for six years. In 1972, he returned to the South Carolina School for the Deaf as a Vocational RPhabilitation Counselor at the Cedar Spring Rehabilitation Facility. He worked there until 1975 when he decided to further his education. He moved to New York City and, as a Ber.ger Schola,r, earned his M.A. degree in Deafness Rehabilitation at New York Universtiy. He stayed on in New York after graduating to teach part time at La Guardia Comm~nily College and to work as a research consultant for various agencies. Ven· active in the deaf communit~· . Mr. McKinney served as President of the S. C. Association of the Deaf and then went on to a two \'Car term (1974-76) ~1s Vice President of the National Asso~·iation of the Deaf. Ile was elected President of Spectrum, FODA in March 1977. Janette Norman Vice President Janette Norman graduated from Texas Tech Uni~Trsit~.' in Lubbock, Texas. I lcr dcgre(' is in Special Education with certification in all eight exccptionalities of the handicapped. Soon after finishing college, Janette realized that her particular interest was in the area of deafness but she was also caught up in th<' world ol art. . . While in training at the New Mexico School lor the Deal, Janette asked to work in the art department. H was there that she first observed the cnerg~' and enthusiasm with which mam· deaf children approach art. It occurred to her that art might be a natural and accessible means of expression for the deaf. After hn training was finished , Janelle taught in a r('source room for all the exccptionalities in San F rancisco. . . In Clarendon, Texas, Janette worked on a B1ccntcn111al Project. During her ~Tar and a half there, with the help and guidance of several exceptional people, Janette began to see her life's work in a new light. The two pursuits ol art and deafness merged into a single project. The future organization of Spectrum slartt'd lo lake shape in her mind. Soon afterwards, Janette was introduced to Helen Jones, Spectrum's first benefactor. With $1,500 from Helen. Janette traveled to the Se\Tnth World Congress lo~-tlw Deaf in Washington , D.C. where she met Betty Miller and, the ~lancer and choreographer, Yacov Sharir. Spectrum FODA progressed from an idea to actualit~· . page '1. Clarence A. Russell, Jr. Secretary-Treasurer Clarence A. Russell graduated from Maryland School for the Deaf at Frederick and went on to earn a B.A. in Art . from Gallauclet College in 1958. Mr. Russt•ll worked as a Computer Operator for sixteen vears in the Navy. Department, the Agency for International Development, and Goddard Space Fligh.t Center. In 1975, he was promoted to the position of Illustrator at Goddard Space Flight Center where he was responsible for all inhouse work. In Ju~e 1976, h~ received a cash award as a member of the exceptional achievement group of the Presentation Section at Goddard. Aside from employment, Mr. Russell has been active in . the Dramatics Guild and the Hughes Memorial Theatre of the Deaf where he acted, directed, and did set designs for numerous plays. He has also directed many variety shows and traveled as a paid performer for about five years. Starting last fall (1976), he was appointed as a spokesman for the Arts Center Committee. The National Center for Law and the Deaf sponsored this project with a grant from H.E.W. Mr. Russell has also served as a board member of the I LOVE YOU Foundation in Washington, D.C. He is the Secr~tary-Trcasurer of Spectrum F.O.D.A. and he plans to be active in community theatre in Austin as well. page 15 Page 1-1. THE HHEEZE, Friday. September ~. 1!171\ TllF HHFFZF. Friday. September 29. l!l78. Page 15 'Music originates in the mind' DEBBIE PIKE llwsl' performers to estahlish ~.aid · Tlw dancers mav move a d:rnl'(' pieee In addition. together or become distant as ht•l·aw,l' the~· l'annot hear and "T is allows them to take a if each is completely unaware in mo~.t l'ases eannot speak. lTPal ·t• part". he said of th(' presence of the others. tlw d;rncer:-. are taught in sign "The fel'I comfortable with languagt• tlw p;1 t heeause thev have the For the American Deaf frl'l'd rn to ehange 'it .. l>anl'e Company. music I>anl'(':-. ;1 r(' l'Omposed so originates in the mind. The that dancer:-. ean see each Sharir designs all mo\·enwnts used in the dancers may occasionally use otht•r and visual music to accompany their l'ommunications serve as 1wrform<1 lll'l'S The dancing. but it has no bearing eues Yet. the communication 1110\·emPnts used have no on movement or it<; timing. is highly disereet and the ~·IX'l'ifie ml'aning. Sharir said. hut fit mto an O\'erall design The company gave a da neers :-.eem to be Tlw .\ llFHI<::\l'll:\K "signs" dancing directions mt>mbc-rs Hob McMahon and Yacov Sharir. emphasis on timing. to troupe group of dancers. edul'ation in addition to the School of Education and the Sharir refers to this idea as Artist and Lecture Series. Yet. unlike non-deaf "danl'e h.v chance." dancers. this group goes "The dance happens The l'Ompany is part of above and beyond to produce Spel'frum -Focus on Deaf \\'ithout my control", Sharir a media resource center and a highly professional and said. ··and every performance Artists. a nonprofit an annual summer conference beautiful performance with a organization. Spectrum also is ultimately different of deaf artist<;l'omplete lack of dependency bemuse each dancer chooses spon-,ors a deaf theatre. a on music his or her own timing " visual performing art<; school, The deaf dance company is one of only two of it<; kind in the world. It was started in Nm•pmher 1'176 when Sharirir. who was working with the 11orld's only deaf dance l'Ompany in Israel. was asked h.v Spectrum to come to the llnited St.ates to start another eompany Sharir tra\eled to many part<; of the l 'nited States ineterviewing and selel'ling interested danl'(•rs. The group· s premiere performance was in August 1q;; at the L:niversity of TPxas. \\'here thev received l'nthusiastic reviews and lwg;111 to get further im·itations to appear l'lsl'\1lwre. including one to appe;1r in Hussia Thev have pc•tforrned with the °Dallas Hallet and are one of only four danl'l' l'ompanies to be ineluded in the Danee Touring l'rogram of the National i':ndowment for the Arts in l..-pect to see some kind of · Tel Aviv, Israel, to create the only professional A DIFFERENT SO~Tofcontribution-pure ble, but Robin Red Breast's "nest of love.. was dance therapy, not accomplished performers," company of deaf dancers in the country. He did entertainment -was made by Ballet Concermentioned.) he added. "It only takes them one or two minso because he wanted "to provide for deafdancto's presentation of "Red Riding Hood." The familiar fairy tale was approximated in music . Diane Simons' costumes were a highlight, esutes"· to recognize their mistake. ers the opportunity to become professional ''The dancers are involved in the composition dancers. It's a challenging situation for me." and dance, although I'm not sure in the original pecially the Butterfly's filmy sleeves and He communicates to them in sign language, versionRed danced a pasdedeux ~iththe Wolf. glittering antennae and Grandma's nightgown of the dance," resulting in "a lot of.dance by chance," said Sharir. whichhe had to learn anew when he came to the Giselle Dean, daughter of Ballet Concerto arand cap. The Wolf's wicked grin complemented United States. tistic director Margo Dean, seemed comforthis furry blue cape. ....• Dancers come from all over the country to able and able in the title role. Richard Condon uEACll PERFORMANCE might be differstudy at the University of Texas at Austin, as the Wolf did a wonderful job of leering, and The work was aimed at children, but there ent." where Sharir teaches. "We train four hours a Kathy Harrell's performance ~ the GrandwasnoU\ing about it to preventitsbeingenjoyed Sharir became interested in working with the day," and some are chosen for membership in mother was a gem of characterization. by all ages. I :; This performance of Spectrum American Deaf Dance Company is sponsored by the Gallaudet College Student Union. SPECTRUM AMERICAN DEAF DANCE COMPANY (Dance company of Spectrum, Focus on Deaf Artists, Arts Center, Austin, Texas) will present a special performance in the Gallaudet College Auditorium (7th Street at Florida Avenue, N.E., Washington, D.C.) on Saturday, September 23, 1978 at 8:00 p.m. Tickets: $2.00 students $2.50 -all others Tickets may be reserved by calling the Student Union Office, 447-0629 (voice or TTY). Gallaudet College is an equal opportunity employer/ educational inst'tution. Programs and services of Gallaudet College receive substantial financial support from the Department of Health, Education and Welfare. ERICAN DEAF DANCE COMPANY AUSTIN CIVIC BALLET November 14 &15 Hogg A ito ·um Spm Presented by the Texas Union Cultural Entertainment Committee raphy by Eugene Slavin, Sharon Vasquez, Yacov Sharir Performance includes new chore Tickets: General Public $7.00 $5.00 $3.00 CEC and groups $5.00 $3.00 For informa ·on call 471-1444 Thrs r m de ssble rn rt by the Texas Commrs · on Arts, the City of A trn, and the partment of Dr , College of Frne Arts, Unrversrty ofTe a at Austrn l l I ]) I I I I I I A N c I~ • c 0 M p A Irtdav, ~eptl.mbcr76, lq8o, OVorkshop)7·lOp m; ~aturda). S{ptember27, 1980, cPe1tormmue) "1·30p m. y N CARVER COMMUNITY CULTURAL CENTER 226 North Hackb rrv St. San Antl nio, T xas 78202 (512) 299-7211 ) .. m a . Per Performances include new choreography by YacCN Sharir Tickets General Public $7.00 $5.00 $3.00 CEC and groups $5.00 $3.00 This program made . . Rockwell I t . pQ6S1ble in port by nemat1onal The department d Dr Coll ama. ege d Fine Arts. Uruversity d T the City d Austin exas at Austin and Tickets available at Texas Union Box Office -PAC-SEC For information call 471-1444 Presented by the Texas Union Cultural Entertainment Committee THE DAILY TEXAN Wednesday, March 5, 198Q ENTERJAINMENT Page 10 Troupe's modern dance best · By KATHY SAMON Dally Texan Staff It usually takes a guest choreographer to bring professional, quality work to Austin companies or so the saying used to go. The truth is that Austin has its own quality choreographer and dancers in the newly formed Dance Repertory Theatre sponsored by the UT drama department. Presenting its first spring concert this week, the company is emerging as one of the most technically proficient, creative groups in Austin. The company's strength is also its weakness. Modern dance overrides the program. The absence of a jazz dance and the presence of a relatively weak ballet (choreographed by Igor Youskevitch) frame this group as a modern dance company, not as the well-balanced, all-encompassing group it was intended to be. But t~e backbone of any dance is choreography, and this company may have two of the best modern dance choreographers in town, as well as some of the best-trained dancers. YACOV SHARIR'S choreography is marked by a steady tap of creative power. "Mushito" (a combination of "mushy toe"?) walks the edges of dance concepts. In this dance, eight female dancers perform with one pointe shoe (toe shoe) and one bare foot, obliterating the barrier between modern dance and ballet. The experience for the viewer is akin to watching someone walk with one foot on a curb and one foot in the street -it looks clumsy. But the dancers play on this disharmony to produce movement that is at once awkward and fluid. This smooth transition is a credit to Sharir's choreography as well as to his dancers. · The movement is taxing, and these women dance with such strength and attack that technical proficiency is never a question. They perform in one pointe shoe with more control than most dancers do in two. Outstanding performances are delivered by Loretta Valdespino, Lynne Grossman and Susan Grubb, who dance with a fierceness that drains the choreography for all it has to offer. IN "MUSHITO" the pointe shoe is a tool for exploration. Traditionally, a pointe shoe enables a dancer to gain height., to continue the long line of the ieg and to suggest a feeling of being "up." Sharir goes farther. Playing on the belief that a dancer should produce as little sound as possible on stage, Sharir uses the pointe shoe to pr.oduce rhythms just like a tap shoe does. Movement grows out of all the possibilities a toe shoe offers, regardless of whether that movement is elegant or balletic. Sharon Vasquez's "Corridors of Dream" (performed to music by Leo Kraft) is a visual interpretation of a nightmare; the. horror comes from images associated with daily life. Clothed in gray leotards, their faces blank white masks, the dancers seem shrouded in darkness. The sound of a shotgun, drums and the whine of distant train whistles drop these dancers into tormenting private hells. When they move as group, it is not with warm interaction, but with the belief that there is security in numbers. Like Bella Lewitzky's "Pietas," this dance is a struggle to survive technological advances. Doom, even war, are sensed in the expressionless, sometimes tormented faces of the dancers. They turn as a group toward a beam of light, recoil in fear, then linger drawn to the warmth, but wary of its effect. THE STEADY BUILD-UP of tension and pressure is felt in one shocking movement when the dancers cross their arms in front of their faces, throwing parallel shadows across their masks. They seem to be peering through the slats of Venetian blinds, tentative and squinting, afraid of what they might see. "Homage for a Friend" is choreographed by Sharir and performed by Sharon Vasquez. A sad, introspective piece, "Homage for a Friend" is a working-out of inner turmoil. It's as if the audience has walked into Vasquez's private room of thought. The movement is so personal that the audience knows it is not included, but can't help watching. Some of the movement is usually taboo in a performance: smoothing her hair, straightening her costume. But these gestures establish a spontaneity, an easing into more-structured movement. ''Quintet,'' choreographed by Vasquez, consists of a collection of court dances performed to music by Benjamin Britten. The dancers, particularly Wendy Bauman, perform with precise execution, but the piece lacks a clear structure. It1s also difficult to appreciate the elegance of body formations because of the cumbersome, unflattering dresses the dancers wear. THE ONLY HITCH in an · otherwise fluid program is Youskevitch's "Concerto." Anytime a ballet is abstact in content, the choreograher is taking a risk because there is no storyline to fall back on. Youskevitch takes this risk, but takes his choreography into murky territory. His signature movements, like the circling of a hand at the wrist, have a surface quality -they clue the audience to very little. This is the only dance in which dancers struggle with technique and whiz through movement. The audience looks to dancers like . Gene Lanfear and Betsy Adains, who have the mature technique needed to give sustenance to movement. "Concerto" has possibilities: it is lyrical and extremely musical, but it is like being served an hors 'd oeuvre after a heavy meal. It can be skipped. MODERN DANCE IS the company's strength. Well-trained dancers and innovative choreography provide an evening of professional quality matched by few other groups in town. Also on the program is "Bits of Bolling,'' which premiered in April 1979. Three different programs are offered at 8 p.m. nightly Friday at the UT Drama Building Theatre Room. Admission is $4 for the public, and $3 for students. Call Hogg Auditorium at 471-1444 for ticket information. Friday, April 11, 1980 The Richland Chronicle Page 7 Theater plays the absurd by R. E. Wackrow Two absurdist plays, both by European authors, are the subjects of the Richland theater department's current production efforts. "Pigeons," by English playwright Lawrence Osgood, and "Escurial," by Michael DeGheldetode of Belgium, Wf. re approved by director Dave Yoder on the bases of their small casts, ease of production, and simplicity of design. "They are both short, one-act plays," said Yoder. "They will be very fast and fun for everybody to work on. "The last show we had ("Sweet Charity") was very intense-with late and long rehearsals, music, dance and acting.'' ' Each play will take less than an hour to perform; the only set change will be during the intermission between plays; and using recycled materials to build the one set for each will allow the theater department to conform to recently-implemented cuts in its budget. Also, said Yoder, "we wanted to utilize some students who had not had a lot of stage experience here-not necessarily because they weren't worthy, but because they were not physically right for (earlier) roles. "Pigeons," the first of the two plays to be performed when they open May 5 in the Arena Theater, is the more classically "absurd" of the two. The "absurd" in absurdism is that inherent in the human existence. "The characters are 'real,"' explained Yoder, "but are put in situations that are not altogether real." As a theatrical style, absurdism puts realistic characters into often nightmarish predicaments. Janet Stillman, Jennifer LaPastore and Anne Baird are cast as the three elderly women of the play. '"Escurial,"' said Yoder, "is an absurd play that we're taking a little further than absurdism. ''It was a frontrunner of (1920s) absurdism, and it has a little more expressionistic style." The play has .four male characters: the king, played by Greg Tippit; the jester, played by Terry Lister; the monk, played by Randy Logan; and, the executioner, played by Vince Grant. "Escurial" takes place in the throne room of a castle. Though having a Renaissance air, the time period of the play is basically indescript. And being expressionistic-Le., attempting to convey the inner feelings of the main character, and the inner truths of his reality_:_the question of when the scene was supposed to have taken place becomes moot. The king, whose wife is dying, and whose kingdom is falling apart, said Yoder, "has a problem dealing with his own emotions. (It's) exemplified by the style of the play: Qualities he cannot find in himself he sees in other people-magnified, even to the point of grotesquery.'' "Escurial" is, according to Yoder, a physical play. And because of the possible injury to its players, and the limited casting of both plays, Yoder is using Michael Keane and Mary Beth Shaper as understudies. Chuck Sheffield is designing the sets and Sandy Turney the costumes. Theater students Scott Meador is in charge of sound design for the plays; and Lee Ann Hashbarger, also a student, is the assistant director. "Pigeons" and "Escurial" will run six days through May 10. Tickets are free with ID. Spectrum, American Deaf Dance Company dancers leap lightly ~s they make creative use of the space around them. Following two days of master classes and demonstrations, the company will perform tonight in Performance Hall at 8 p.m. Admission is free with ID, $3 for the public. THE DENISON HERALD-Denison, Texas, Sunday, February 21, 1982 PerfO-fming Arts ·schedules American Deaf D.ance G.roup The American Deaf Dance United States to establish a has presented annual perfornew relationships of dance Company, the only one of its company of professional mances in its Austin home, and music. A great deal of kind in the United States, deaf dancers. At that time conducted two national tours freedom in timing is allowed will be performing Friday, Sharir was well known as a and performed in . various to the dancers to create a difMarch 5, at 8 p.m. at choreographer and teacher Texas cities. ferent dance each time it is Eisenhower Auditorium . with the Israel Ballet, the Achievements reached by performed. Music, provided The company will also give a Kibbutz Dance Company the dancers are attributed to largely for the benefit of the day performance at Denison and the Demama Dance the special nature of the deaf audience, is often percusHigh School. Group, a professional com-· dancer, who uses a high insional, abstract and contem The company's appany of Israeli deaf dancers. tensity of visual perception porary. pearance in Denison is sponOn arrival in the United and expression in perfor. The Friday night, March 5, sored by the Denison PerforStates, he began the·exten-mance. performance is open to the ming Arts, who has paid for sive reeruitment process of The company explores pubiic. _ the admission so the comfinding deaf dancers munity can attend the prothroughout the country. . gram free of charge. Members of the company. The national repertory include· Sharon Y01.ing of DR.C.B. NEWSOME ~ company, based in Austin, Nashville, Tenn., Jimmy For Your Chiropractic Health Care ~ · has a dance program rangTurner of Groton, Conn., ing from light and acrobatic Mario Illi Jr. of Syracuse, Call to the esoteric and pastoral. N.Y., Druscilla Brown of The American Deaf Dance Virginia Beach, Va., Rosie NEWSOME CHIROPRACTIC Company is an outgrowth of . Serna of Austin, Deborah OFF.ICE a dance project initiated by Pike Meyers of St. Louis, Spectrum, Focus on Deaf ArMo., Robert McMahon of (1 Block North of Post Office) tists, a national organization Datona Beach, Fla. and Bon for professional deaf artists. nie Ramsey of Austin. 226 W. GANDY • 465-8715 In 1976 Spectrum commisSince its premier perforsioned Yacov ·Shar1r of Tel mance in 1977, the company American Deaf Dance Company · Aviv, Israel, to come to the . Deaf ·Dancers 'Stimulate' Audiences By HELEN MARSHALL the Minnie M. Jones Trust Left." · Demama (voice and silence) Ballet Company. Herald Staff Writer Fund, the Meadows Founda "Shapes" has undergone group in Israel. He not only Because the American tion of Dallas, the Texas some changes, Sharir said, has been a dancer but a Deaf Dance Company has a The Israeli director of the Commission of the Arts and because some viewers in the teacher for various profesvaried repertoire, SharirAmerican Deaf Dance Comthe National Endowment for audience thought it had ·sexsional dance companies and says the dancers "have a pany wants the Denison authe Arts will allow students ual overtones. "Sensual, .university classes. He is curstrong sense · of their owndience coming to see the to see performances during yes," Sharir said, "but not rently a dance specialist in work."company's performance the day and a night time prosexual." He explained the the department of drama at The eight professionals in March 5 to expect to be gram for the public, all for dance is about motion and the University of Texas at his company "are extremelystimulated. free. design. Austin. capable .. " He said the deaf Two grants were the are uninhibited and have a Yacov Sharir said, Perhaps Sharir's That is the only criticism beginning of the American "natural ability to express "You're not supposed to background as· a dancer and Sharir said the Deaf Dance Company in emotion. They have the ex understand what we are dosculptor has formed his choreography has en ing." ideas about images and imcountered, and the dance 1977. Not only is Sharir's treme capability to express ·choreography included in themselves through moveIt sounds like a strange repressions he makes in his company gets a good the repertoire, but works by quest, but Sharir wants auchoreography. Music should response wherever it perment." Michael Uthoff and Dee McHis hope for the future is diences to be stimulated by co-exist and be parallel to forms. In fact, Sharir ha·s Candless are also performthat deaf dancers can walk the images they see on stage the dance, Sharir said, but seen young children go out and the impressions they the deaf dancers "don't use dancing into the street after ed. into any dance studio and be Sharir's choreography has feel from the dance music to be followed." The a performance to copy what judged on their own merit been perform£.d by the and not on their ability to movement~. music, instead, is more for they have just seen. American Deaf Dance Comhear. the hearing audience's Sharir and the dance comSharir had been a profespany, the Kibutz Dance "Our concentration is on benefit. pany will be coming to sional dancer when he Company and Batsheva capability, not disability," Denison as part of the year's Three selections from the undertook the challenge of Dance Company in Israel, he said. schedule of programs sponcompany's repertoire to be helping a friend by being the the Austin Ballet, Hartford sored by the Denison Perforperformed in Denison inrehearsal director for a proBallet Company, Dallas ming Arts, Inc. Funding clude "Shapes," "Three fessional company of deaf Ballet Company1 Kibutzium from the Performing Arts, Variations" and "Right to dancers. That was the Kol Dance Company and Israeli Sunday, April 11, 1982 Austin American-Statesman The rts \ Deaf Dance Company speaks in movement -· By NANCY VREELAND Special to the American-Statesman Is there a "deaf' art? For the many Austinites who are followers of our own American Deaf Dance Company, deaf artists are no strangers. Artistic Director Yacov Sharir and his dancers have shown us that deaf dancers bring special qualities to their work, including intense concentration and a highly developed facility for communicating through movement. They have also shown us that, from the vantage point of an auditorium, one can't tell "deaf' dance from any other kind of dance, except in those works that take deafness as their subject matter. ·All deaf artists do share common experiences, or some might say, a common world view. Some feel that the deaf have a common culture dif ferent from that of the hearing The American Deaf Dance world. Does this mean there is a Company performs tonight at 8 ''deaf' art? · at the Paramount Theater as This is justone in a series'of sociopart of the American Deaf Arts_. political questions artists have been Festival. raising for some time. Is there femi will be motional as opposed to emo nist art? Is there Black art? Is there Mexican-American Art? For some, tional. The poems will be read the "deaf art" is a political issue, for othsame way-neutrally. The audience ers, an anthropological question. For will be free to feel whatever they still others, art is purely an aesthetic want to feel." matter. · On Thursday, April 15, there will No matter what one's point of be a workshop encouraging communication among deaf and hearing view, the 1982 National Deaf Arts artists, dancers and actors. On SaturFestival should be of interest. day, April 17, Debbie Sonnenstrahl, Presented by tl~.e Paramount director of the Fine Arts in EducaTheater for the Performing Arts tion department at Gallaudet Colfrom April 8-18, the festival will inlege, will show slides and lecture onclude theater, dance and the visual the contributions of seven deaf a~ arts. tists during over a 200 year period. Tonight at 8 p.m. at the Para On April 16-18, there will be five mount, The American Deaf Dance performances of Mark Medoff'sCompany will perform. The program Broadway hit "Children of a Lesser will include Sharir's new dance, God." There will be interpreters for "Haiku." The performance includes the deaf at the Saturday and Sunday several simultaneous activies, but, matinees. says Sharir, "there will be plenty of time for the audience to exercise its In the catalog accompanying the brain. They will not be bombarded." festival's art exhibit, curator Robert Roth -himself a deaf artist -disIn "Haiku," actress Karen Kuycusses the question of "Deaf' art. kendal will read haiku by the Greek 'The works he has selected from both poet Voctor Cavafy, while deaf aclocal and national deaf artists are ontress Kathy Walden interprets them display at Franklin Savin~, 712 Conin American Sign Language. At the ,gress Ave., on the third floor of the_ same time, eight dancers will perbank building. form. Pianist Kathryn Mishell will accompany the work with an origi"What has emerged from this colnal score composed expressly for lection," Roth writes in his catalog, "Haiku." · "are some threads of the deaf exper "The relationship between the eince (that) each of these artists has Haiku images, the interpreter and expre$ed in his/her own way. Exthe dance will exist, I would assume, hibited individually, some of these metaphorically," says Sharir. "They paintings may not show evidence of will be executed in the spirit of haiku such an experience; viewed collec(a strict poetic form borrowed from tively, the artists represent facets in~ the Japanese). There will be no inthe lives . . . of the millions of deaf. terpretation in mov.ement of the individuals who live in the United emotions in the poetry. The dance States." 'Children of a Lesser God' will be performed here at the.Paramount Theater beginning Friday. Deaf and in·love 'Children of a Lesser God' begins Friday By ALAN JENKINS American-Statesman Staff The 1980 Best Play Tony Award winner, Mark Medoffs "Children of a Lesser God," comes to the Paramount Theater Friday for the first of five performances. It also coincides with the Paramount's 1982 Deaf Arts Festival. Written after Medoff had met with the deaf actress Phyllis Frelich (who starred in the original Broadway and Los Angeles productions), "Children of a Lesser God" is a story of love standing the test despite prejudice and frustration. In the play, Sarah Norman is an advanced student at a school for the deaf who falls in love with her teacher, James Leeds. Naturally, Leeds does all the talking, but Sarah is equally eloquent in her use of sign language, and Medoff weaves into his play many humorous and tender passages. InFriday's performance, FredaNorman, a deaf actre~ who has played for almost 10 years with the National Theater of the Deaf, will play Sarah, while Philip Reeves plays Leeds. A co-presentation of the Paramount Theater and the Texas Union Cultural Entertainment Committee, "Children of a Le$er God" will play 8 p.m. Friday, and 3:30 and 8:30 p.m. Saturday and Sunday (April 18). Tickets are on sale at the Paramount from noon Deaf Arts Festival schedule to 6 p.m. Monday through Saturday (472-5411). ... Jack Aranson, who did such a fine job last year in Hugh Leonard's play, "Da," when it came to the Paramount Theater, will appear Thursday with Mary Doyle, faculty members and students, in a University of Texas Drama Department production of Arthur Miller's play, "Death of a Salesman" at the B. Iden Payne Theater. . Aranson, who has owned his own theatrical companies and performed all over the world, will play the leading role of Willy Loman, in this sad tale of a man looking back on a litany of failure. Mary Doyle, who has appeared on Broadway in such plays as "Equus," "Best Friend," "Clothes for a Summer Hotel," "The cave Dwellers," and "Henry V," will play Willy's wife, Linda. The play will be directed by Kathleen Conlin, the set designed by John Rothgeb, costumes designed by Kathie Brookfield, while Amarante Lucero is both lighting and sound designer. All university box offices will be open from 1 O a.m. to 6 p.m. Monday through Friday, and the Erwin Center box office will be open Saturday from 9 a.m. to 3 p.m. "Death of a Salesman" can be seen at 8 p.m. Thursday, Friday, and Saturday, and will continue after a break for Easter, playing April 20 to 24. A 2 p.m. matinee also is scheduled for April 24. Through April 18, Exhibition of works by local and national deaf artists at Franklin Savings, 712 Congress Ave. Today, 8 p.m., Paramount Theater: The American Deaf Dance Company. Tickets: $7.50 and $5.50. A$2 discount for groups of 1 O or more, senior citizens and students. Thursday, April 15, 3-5 p.m., Paramount Theater: Deaf Arts Workshop. Workshop and panel discussion for deaf and hearing artists, actors and dancers. Free admission. Friday, April 16, 8 p.m., Paramount Theater: "Children of a Lesser God," 1980 Tony Award-winning play by Mark Medoff. Tickets: $12.75, $11.75, $10.75, $9.,75. Saturday, April 17, 10:30 a.m., Paramount Theater, "Spotlight on Deaf Artists," lecture and slide presentation by Debbie Sonnenstrahl, Chair of Fine Arts, Gallaudet College. Free admission. 3:30 p.m., Interpreted performance, "Children of a Lesser God." 8 p.m., "Children of a Lesser God." Sunday, April 18, 3:30 p.m., Interpreted performance, "Children of a Lesser God." 8 p.m., "Children of a Lesser God." by allce ahukalo The weekend saw two evenings of dance by two of Austin's most exciting companies. The Ballet East Dance Theater performed Friday at the Paramount and showed its audience what Austin's only truly cross-cultural company can do. Roldolfo Mendez, artistic director of the company, together with three other choreographers, Cathleen Walter, Judy Dillen and Katherine Cavazos, assembled a delightful and tremendously varied show. And on Saturday night at Hogg Auditorium, the American Deaf Dance Company and the San Antonio Ballet put on a joint performance chor~ographed by Yacov Sharir, artistic director of the ADDC. Once again Sharir demonstrated that his choreographic imagination virtually knows no bounds. That Austin can be the home for such talented and different dancers is heartening. Apparently young artists now feel that Austin is a reasonable place to be a dancer and to create dances, that performing in Austin means something, that it is not necessary to go elsewhere to have one's work appreciated. The first dance presented by Ballet East was ''Images of the Islands,'' choreographed by Walter. "Images " is an allegory, using music by Sioux and Navajo tribes, Les Baxter, TriRoro, Ti-Marcel and Bill Maddox. Five chapters make up the allegory, including the "Hunting Dance" and "Wedding Celebration"; each part told a story and enacted a ceremony at the same time. Cavazos' dance, "Post Requiem," uses fresh ideas to create one of the most humorous pieces of Friday's performance. Cavazos uses her vocabulary to create unex pected and witty movements that lend a delightful touch of mime to her piece. The third choreographer on the bill was Judy Dillen. The program notes say her first love is musical theater, but only her dances show how true a love it is. "Just for Fun" looks like fun; two of the best dancers in the company, Sandra Alvarez and Dillen, dance a free-form duet, making full use of the stage. "A Little B.S." was danced to Bruce Springsteen's "She's the One," "Meeting Across the River," and "Tenth Avenue · Freezeout.'' Unfortunately, the sound for "She's the One" was terrible; it was fuzzy and distorted, and finally the volume had to be lowered to alleviate the irritation. This was remedied for the next number, "Meeting Across the River" which is a beautiful pas de deux ex pressing the tenderness and poignancy of romantic love. "Tenth Avenue Freezeout" also was about romantic love, but of a more rough-and-tumble variety. In the movements and costumes of a city gang, the dancers kick and punch their way through an evocation of street life. The high point of the narrative comes when Sandra Alvarez decides she wants another woman's man. She and the girlfriend have it out in a pantomime of hair pulling and blows, with Alvarez displaying a wonderfully sympathetic combination of cocky arrogance and emotional longing throughout her performance. Dillen gives us a surprise happy ending; the 1 ' 1 Michael Hults, TSP Staff man and the girlfriend exit stage left, and Alvarez, resigned to the turn of events, leaves with the gang, stage right. Suddenly the object of her desire runs back across stage, grabs her and, throwing her· over his shoulder, carries her off stage with her friends. Dillen's last piece, "No Sanctuary," is the most seriously dramatic of her works. The curtain opened on Dillen and Willie Moore posed on a large structure that looked like an ancient stone ruin. Their costumes, which were flowing garments rent into tatters and worn over leotards and tights, contrasted sharply with those of Alvarez and Mendez, who appeared on stage a bit later. They were dressed in black leotards and tights and wore long white flowing "sleeves" that hung to the floor in panels when their arms were outstretched, gleaming headbands and waist ornaments of rhinestones, and Alvarez wore one huge, sparkling earring. She and Mendez were regal. Dillen and Moore were wild, and they danced out their conflicts, couple versus couple, woman versus man. The dance ended w:ith Alvarez and Mendez climbing the "ruins" and falling off the back, face first, causing the audience to gasp and then chuckle in relief. The final pieces, both choreographed by Mendez, were "Contra Fuerzas" and the "Finale." The first of these showcased Mendez and four female dancers, and the finale was danced by the whole company dressed in colorful, idiosyncratic costumes. The Ballet East, with its new, broadened conception, is a welcome addition to the Austin dance scene, presenting a combination of ethnic, jazz, ballet and modern dance performed and choreographed by a company that exudes vitality and dedication to its art. The American Deaf Dance Company displayed its usual impeccable virtuosity under the direction of Y acov Sharir. The dancers in this company have the strongest bodies I have ever seen. Their agonizingly slow lifting, carrying and bending are not marred by the slightest grimace or show of effort. Never is there a jerky movement in lifting or a slip of hand or foot. Barton McLean composed the music for the ADDC performances, and the first number, "Shapes (Chains)" is a beautifully studied tableau of sculpture come to life, moving slowly and deliberately, bodies linking themselves together to create toire, and rightly so; it was just as amazing Saturday night as it was last semester when they performed with the Austin Civic Ballet. The second number, "Variations," is a faster-moving piece, and features the dancers as single units to a greater extent than does "Shapes (Chains)." The costumes were rich, muted "warm-up suit" type outfits in various colors, and the dance contained many references to the world of athletics with its held poses and its fast, free motion. There is a ·very nice section where a woman and a man hold each other and progress across the stage, one flipping over the other. Later this same woman carries her male partner across the stage, a graceful and understated reversal of traditional roles. The last piece, "Jazz Blanche," danced by the San Antonio Ballet, was also choreographed by Sharir, who incorporated a lot of his jazz and modern vocabulary, going so far as to have the ballet dancers repeat some of the movements of "Shapes (Chains) . " "Jazz Blanche" was certainly well-danced; the performers were professional and spontaneous in their movements and expressions, but somehow the performance did not quite meet the standard set by the ADDC. Comparison of two such wildly differing companies is probably not the most fruitful exercise in the world, but it is difficult not to compare one's response to the two gioups when they are presented side by side. Being last, the San Antonio Ballet had an obligation to present a smashing and exciting finale to the evening, leaving its audience feeling elevated and satisfied at the same time. But the point of greatest excitement came during the performance of the ADDC. Sharir himself danced with the San Antonio Ballet, and this was certainly a joyful and much-anticipated appearance, but the company as a whole was not as fantastic, in the literal sense of that word, as the ADDC. Perhaps it is because Sharir's choreograhy is so unique, and the deaf dancers so powerful, that they are such a hard act to follow. Perhaps any conventional kind of dance would pale in comparison. But I think placing the San Antonio Ballet at the end of the evening was not a good decision. They would have been just as enjoyable in ijle middle of the program, without the pressure of providing a show to follow that of the deaf dancers, and strange ambulatory creatures. This is the ADDC could then have ended the evening Ballet East Dance Theatre becoming a classic of the company's reper-· with one of its· awe-inspiring performances. CLOSE UP: DANIEL EMMANUEL Music Therapist!Counselor Pointing out that attitude has a great deal to do.with erasing the interferences, Emmanuel explains the connection between music and attitude adjustment in counseling/therapy sessions. "It works in relationship with the person's own attitudes," he says. "It helps the person relax. It is a tool to help insure the opening of insights into self." This is accomplished by use of music that is cyclic. Such music assists the mind in slowing down. "It is a sort of biofeedback in musical form . . . it helps _people be able to go within," Emmanuel says. It is also necessary for him to teach some clients to "listen" to the music because, as he points out, "not everyone knows how to listen to music in order to get the maximum benefit from it." Through creative stress awareness classes, Emmanuel is able to work with people who are generally aware that they want to make changes in their lives. "I guess that my biggest joy is preventive care," he says. "I sort of feel like a mental nutritionist, being able to do preventive work on a mental level." Describing himself as a "minimalist'' musically, Emmanuel's instrumentation consists basically of a.n organ and guitar, echo machine and a 4-track recorder by means of which he produces cyclic, repetitive music. Emmanuel feels that he is able to produce any desired music with minmal equipment. though he is well versed in a variety of instruments. The tapes he produces for clients are "tailor-made," according to Em manuel. He sits down to the organ, quietly thinks about the individual . and begins to pJay his impressions. He finds that the resulting tape helps the individual to fine tune as they relax their bodies. "As they relax," he says, "they release symbols and pictures of the blocks which have caused their problems." Once the problems become apparent, Emmanuel assists the client in resolving them, at which point s/he experiences the "joy of letting go." He sees himself as helping people to relearn that they are the source of their own happiness and joy. Emmanuel adds that in music therapy as in any other type of healing, the client is the one responsible for the effectiveness of the treatment. Daniel Emmanuel is a partner in RESOURCE, a Houston counseling and consulting corporation. Music has been credited with soothing and healing properties throughout time and literature. A litany of metaphors and explanations testify to efforts on behalf of understanding the phenomenon. The experiments of Pythagoras demonstrated a possible scientific explanation for the effect of music upon the human body. In the 5th Century B.C., the Green scientist hit upon the mathematical, vibrational quality of musical notes. He speculated, too, that the ratio and symmnetry he found in music could also be found in other manifestations around him. From his sound production room iri Houston, Music Therapist/Counselor Daniel Emmanuel suggests that the link between humans and music is indeed at a vibrational level. He further agrees with Pythagoras' theory regarding other "manifestations." "Everything has a vibrational quali ty," he says. "An<:} because everything does have a vibration, a person can become sensitive to those vibrations ... and can alter them." Among the alterable vibrations, Emmanuel includes physical and emo tional conditions. "What I think is important is that you know that you can change anything that you want to change, he says. "We do create miracles. As long as we have an ounce of knowledge that something can be changed, then we can change it.'" Change is at the root of Emmanuel's counseling approach. "We are essentially a hologram," he says. "Our physical, emotional, spiritual systems create the perceivable hologram. But when those systems break down because we overload them with stress, anxiety, worry ...even eating too much of the wrong foods . . . we create imbalances within the body . . .in . terference patterns. A lot of my work is involved in helping persons to erase the interferences." ______American Deaf Dance CompanY-------. When a flock of birds rises suddenly into formation, rolls out and banks into the wind before disappearing beyond the horizon, we ten that in the early days of the American Deaf Dance Company's existence1 there were problems in communication, but the even greater difficulties were encountered in developing largely untrained adult bodies into vigorous, agile performers. "But we've done all that now," he says, "and those problems no longer exist." As the company's cohesiveness has developed and individual strengths have emerged to give variety to performance, the dancers and Sharir have branched out into teaching other that deafness does not preclude success in dance. "We want to encourage deaf children when they are very young to participate in dance," Shariri says. ''We are providing equal opportunities for these kids to compete in the dance area." By beginning with yo~ng bodies and training them to dance as they grow, the company is developing the next generation of the American Deaf Dance Company, Sharir adds. Three dance schools for the hearing impaired have already been established in the technique through their Austin, San Antonio .and own experience. Fort Worth in cooperation The professionalism with with the Texas School for which they approach their the Deaf and the Ballet Con· art demonstrates that they certo Studio. Company are no longer deserving of members commute to San the title handicapped. ForAntonio and Fort Worth them, dancing is not simply weekly to teach deaf children to interact with an effort to overcome their dance ~n a very special way. deafness in a meaningful The teachers are experts, way. They are dancers first and· foremost. having helped to develop PAGE 8/THE DAILY TEXAN/THURSDAY, JUNE 16, 1983 FEATU RE Photographer's art gets long exposure By KEVIN RUNYON Daily Texan Staff Just off Sixth Street, a narrow photography studio/gallery displays photographs depicting powerful scenes of artists in action. Motion is stressed, deep feelings are professed and all of the anguish and joys of performing one's art is expressed. The photographs hanging in Accent Pho tography, 609 Trinity St., are of dancers in motion. The energy put into perfecting their performance is so clear that it jumps out and jolts you. You are overcome by the flood of impressions that emanate from them. The artist responsible for these emotion ally electric images is Ellen Wallenstein, an assistant professor of art at the University who teaches beginning, intermediate, ad vanced and graduate photography. The dance troupe that she photographs is the Sharir Dance Company, the Universi ty's dance company-in-residence. It is led by Yacov Sharir, a member of the drama faculty and veteran of the American Deaf Dance Company, Israel Ballet, Batsheva Dance Company and the Austin Civic Bal let, among others. Wallenstein's photographs concentrate on the dancers as artists. She admires the grace, hard work and energy necessary in dance and attempts to convey that natural vitality in her work. "The best thing that I've heard about them (the photographs) is from the dancers, who have said 'these look like what we feel like.· It's that spirit -visually transforming what's happening in front of your eyes into something that is not a record but is about their energy. It's a transformation," she said. Turning to living subjects for her work was an important step for Wallenstein. Her earlier work focused on landscapes and objects that have anthropomorphic qualities. She now feels that her older work is almost like someone else's. "Once a picture is made, it is as if it has nothing to do with me anymore. It's a photograph out in the world and there it is, and yes, my name is under it, but my ego is not attached to it." In the past, Wallenstein had looked for the human qualities in the objects that she took pictures of. But this new series concentrates on people specifically. It focuses on dancers as a group and not as individuals. Her style throughout this series is characterized by long exposures. She supplements existing light with a single flash, creating a contrived, gentle graininess that lends a texture to the scene. The faces of the dancers are de-emphasized, often their heads are cut off by the picture's frame. Instead, motion is expressed in the positioning of the dancers' hands and bodies. The perspective of the shots is designed to draw the viewer's eye to the dancer in motion, so sometimes the perspective is slightly skewed. Wallenstein works alone. Her set-ups are simple. Her familiarity with the dance routine enables her to know precisely which moments she wants to capture. But because she is working with a flash, she never knows precisely which pictures her camera will produce. "I wouldn't really call it luck, because it's happened too many times. It's dependent on me, but it's also dependent on the technique of the flash. It makes things look a certain way that they don't look like in real life ... I know when they are going to move and jump, but I don't know what it's going to look like and it doesn't even matter ... I can sort of feel it. Sometimes I'll get nothing and sometimes I'll get five pictures in a row." Her technique of using long exposures of v•. '/2, or even up to one second in length results in a fluid image of the dancer and allows the flash to freeze only a small portion of that action in such a way that nothing is stopped, but is only highlighted. This gives a "layered" look that resembles a painting. C onsequently, Wallenstein's photographs are not representative in a trad itional sense. She said she chose photography as an art form over painting or drawing because the idea of an empty canvas scares her, whereas blank film is not as formidable. As for the dancers that she photographs, she has nothing but positive things to say about them. "It's a real privilege to work with these people because they are very professional. There's a lot of communication between them and between them and me ... I feel very loved in that room. I think that they like having me around because they have someone to dance for. They are so graceful, if he (Sharir) says 'do this' they will do it perfectly the first time .. . I'm really in awe. I get a lot of energy from watching them, and even if if I'm tired and I go in and shoot them, I come out with a lot ofenergy." Two of the JO dancers are deaf, but they all know sign language. Professional and hand-picked by Sharir, they work at other jobs during the day and dance at night. Their dedication to their art comes through in the photographs. Wallenstein is really excited about her new series. She believes, and it is quite apparent, that the pictures work, and that they give you the feeling of being a dancer. She asserts that there are quite a few similarities between photography and dancing. Both require a great deal of time and discipline, as well as a sense of grace, the immediate instant, and the perfection of form. But there are important differences as well. "Photography is private -no one can see what I am seeing when I see it. The secret of the black box is magic despite the technical explanations. The magic of dance is altogether another thing, a physical act in three-dimensional space. In dancing there is always self-awareness, the body watches the mirror for the right gesture, the right tilt of the limbs, in order for performance to seem as natural as walking is to the rest of us. The photographic print need never be audienced in the presence of its maker. The dance belongs to the dancer, but the photograph is completely the viewer's." Wallenstein views her art in non-political terms. She believes that the world needs changing, but she's not out to do it. Her goal is to uplift spirits, not social consciousnesses. Ellen Wallenstein 's photography series, representing eight months of work, may be seen at the Accent Studio, from 9:30 a.m . to 5:30 p.m., through the end ofJune. Sharir Dance Company Austin Dance Umbrella Laguna Gloria Art IVluseum PRESENTSi Austin Women Artists in Dance JANUARY 24 & 25 AT 8 PM B. IDEN PAYNE THEATRE 23RD AND SAN JACINTO TICKETS: $7.50 ON SALE MONDAY, JANUARY 13 UT ID AND SENIOR CITIZENS: $5.00 The Sharir Dance Company Is supported In Part by the ....... TICKETS AVAILABLE AT THE PAC, ERWIN CENTER AND ALL U'ITM TICKETCENTERS INFORMATION: .471-1444 CHARGE-A-TICKET: 477-6060 DEPARTMENT OF DRAMA COLLEGE OF FINE ARTS THE UNIVERSITY OF TEXAS AT AUSTIN National Endowment for the Arts, Texas Commission on the Arts and the City of Austin. Company in Residence The College of Fine Arts Performing Arts Center The University of Texas at Austin m p a n d a n c e c 0 Sponsored bythe City of Houston Parks & Recreation Dept., the Miller Theater Advisory Council, the Cultural Arts Council of Houston, Miller Outdoor Theater October 13,1984 and the Moody Foundation. Information 520-3290. 8:30pm e company d a n c Sharir Dance Company in residency at The College of Fine Arts, and The University of Texas at Austin Farrell Dyde Performing Arts Center and presentLaguna Gloria Art Museum / p a nd a n c e c 0 m Houston choreographer Farrell Dyde will present two solo dances. Sharir Dance Company will 8pm, March 24 present three dances (two premieres) by Yacov Sharir. in Dance Marathon PAC Concert Hall Tickets at PAC, Erwin Center and all UTTM outlets. Public: $9, $7. Discount: $2 off for students, senior citizens, CEC fee holders and UT Drama Subscribers. Information: 471-1444. Charge-a-Ticket: 477-6060. SharirDance Company DeRCJrtmert of Drama Col lege o Fine Arts University of Texas at Austin, present SHARIR DANCE COMPANM,. /I k• ~.~ Margaret Jen 10s ;1'1f'L1·1¥'~ Dance Gompar1'10~ .~_, ....,,..,,. From San Francisco r{;f;;. A~ · Performance; March 26 t Performing Arts €enter Grand Concert Hbll, 8 P.M. Choreography; David Gordon, Margaret Jenl el quillaje tambien jugo un papel imza local "Impulso'', se refiri6 al traviernes 26 de abril en el Auditorio portante en Sharir Dance Company. bajo de Sharir Dance Company coLuis Elizondo, como una actividad En la coreografia basada en la mo un estilo diferente, de buena camas de la SAT, obteniendo el musica de Bach, los bailarines pinlidad y con una gran dosis de.aplauso y Ia aprobacion del publico. tados de payasos -ademas tjel vesenergia. Sin embargo, quedaron algunas tuario de arlequines-le dieron otra das. de tal manera que fueron co"Me pareci6 de muy buena cali nes los comentarios -expresados dad el trabajo presentado, se vio z baja-de varios asistentes co-muy bien; se not6 una labor de con. '" io e ve muy bien. pero <,que junto, y me gustaron los silencios . ?'' despues de Ia musica". Los recursos \ ~ . A final de cuentas. Sharir Dance Fue comun que, antes y despues COmpany, que tiene su residencia en de una interpretacion del pianista, empleados por Sharir ~· Universidad de Texas, en la capi-los bailarines realizaran sus ruti1 de Austin, mostr6 que la danza nas, sin notarse precisamente que Dance Company ontemporanea es una fuente inagoestuvieran "fuera de tiempo". ble que nunca quedara estatica, demostraron las J. · ·no que permanece innovadora. ''La danza contemporanea es una expresion que no necesariamen~ ·; , EI grupo sorprendi6 a Ios asis enormes te tiene que quedarse en el lenguaje-. tes al utilizar diversos recursos. del ballet'', advirti6 Savoy Ci ?1 . tan vistos, al menos en danza posibilidades de la ~~ •ontemporanea. · garroa. .. · Pues ademas de sus movimien-danza Maria Esther Gomez de Del • os lib es, ogrados a base del estu-,.,. Valle, maestra de danza del ITESM, aprob6 el desempefio de los bailari . Ia experimentaci6n, el ves-cont~mporanea nes del Sharir Dance Company. io jugo en ocasiones un papel "Me pareci6 muy profunda y original la puesta en movimiento; siento que Ia danza se esta comercializando y este tipo de grupos, con sus innovaciones, lo esta evitando", dijo. "Roks" fue otra coreografia presentada por Sharir Dance Company, y pretende asemejar. por medio de los movimientos de los bailarines, el sonido que produce el choque de las piedras entre si. Reallzada por Jose Luis Bustamante, quien precisamente iniciara sus trabajos de danza con Difusion Cultural del ITESM, y uno de los siete bailarines participantes, la coreografia fue al parecer, del agrado del publico. En esta se not6 el trabajo de conjunto, proyectado por todos los miembros de la compafiia. "A mi mas bien me dio un sentimiento de Ia materializacion del mundo", coment6 Gomez de Del Valle. Se refirio a los elementos del Sharir Dance Company como exceIentes bailarines que lograron conformar un buen equipo. Sharir Dance Company demostr6 durante su presentaci6n en la SAT. las posibilidades que exis- Sharir Dance Company cautiv6 al publico en su presentaci6n . Sunday, January 30, 1983 Austin American-Statesman David Gordon me ts his media \ Choreographer adds dancers' ideas to iilner 'palette' he draws upon to create works. By DEBI MARTIN Special to the American-Statesman Dancers are to choreographers what brushes are to painters. So when David Gordon came to UT's drama department in mid.January, with only two weeks to choreograph a new piece for the Sharir Dance Company, he needed to get to know his instruments real fast. "I started out by lining everyone up, doing careful, quiet things to and with each other," Gordon says. "I began to get a sense of who's willing to touch, and who isn't, who takes weight easily and whose focus changes with what they are doing." _ A rehearsal is a place where decisions are made and unmade. Leaning against a ballet barre, with his eyes darting back and forth like fruit fiys, Gordon quietly observes the/ movement of two lines of dancers facing each other. They clasp hands and move in the style of social dancing. Their arms cross, forming a snake-line pattern that trickled down the line. GORDON SUDDENLY HALTS the rehearsal. He's not getting what he wants. Armed with the verbal imagery choreographers depend on to translate their ideas into action, he explains, "Itshould look like the harvest ball." Gathered in a cluster like a football team huddle, six dancers share insights and problem solving approaches on the sequence. The two deaf dancers in the group signal for help, and several other dancers, coming to their aid, physically explained the dance step in detail. At the same time, others stand on the side lines trading stories about their physical aches, giggling or exaggerating steps for a laugh from their peers. Noticing one dancer's approach to a transitional problem in the work, Gordon had them repeat the step. While Gordon juggles the new material into the piece, dancers all over the room cooperatively teach each other the.new step. Gordon then grabs a microphone to record their verbal . interactions. MANY CHOREOGRAPHERS obtain movement material from their dancers in rehearsal. But Gordon's reasons for using this process are integral to the development of his work. "When I step back and allow the people involved to guide the material, I pick up physical information that I couldn't have generated because it's coming out of their bodies. I throw people into a loose structure where they become part of a problem solving job.", But Gordon doesn't relinquish his role as choreographer-dictator entirely; in fact, he demands it. "I am not simply interested in the process as product without inflicting my own sense of what material is best." ANYONE FAMILIAR with American modem dance knows David Gordon's name. He studied with Merce Cunningham in the '50s and danced in James Waring's company in 1956. His reputation as the "clown prince" of post-modern dance stems from the witty physical puzzles he constucted in the early '60s while a member of the Judson Dance Theater in New York, the cradle of what later came to be known as the post-modem movement. There, he provided comic relief by satirizing ballet and even his peers' serious explorations outside the mainstream of dance. In 1970 he was a founding member of another famous _collective of experimental avant-garde choreographers, the Grand Union. He also danced in Yvonne Rainer's ~ manifesto to the dance world, "The Mind is a Muscle," in which she said 'no' to an fo As seen through the practice mirror, Yacov Shamir explains Gordon's directions to the deaf dancers. Gordon watches the dancers at work ... t Staff Photos by Ralph Barrera Choreographer David Gordon had two weeks to learn the ways of the Shamir dancers. . 'I pick up physical information that I couldn't have ·generated because it's coming· out of their bodies. I throw people into a loose-structure where they '=::·::.:;: ;:······· :::):; ·./(;:;.;._: become part of a problem solving iob.' . and adds the shaping the work needs. malized technique and theatricality in dance. Gordon has an Andy Rooney touch for exposing the absurdity and ambiguities of the everyday. In 1974, he created "Chair," ·which presented an odd assortment of ways to sit in the taken-for-granted everyday object. In 1980, he created the Pick Up Co. He frequently toys with the everyday meaning of words in his works by changing the context they are presented in. Dialogue frequently is used in his pieces as accompaniment. AMONG· THE DECISIONS he had to make quickly in the as-yet-untitled work for the Sharir company, (formerly the American Deaf Dance Company), was how verbal material would be used. "I heard the Texas accent and decided three days into rehearsals to start recording conversations. I taped how people describe what they are doing to each other in the work to make that a part of the piece." When finished, the tape may be edited so that the dancers will be describing movements while they are performing them. Or, it may be edited in a more random fashion. Either way, it will serve as a timing device for the dancers who will have to rehearse the work without Gordon for its March 26 opening at the Performing Arts Center. ~ Gordon explained, "A word can be a cue, a sentence, sound or silence." · BUT WHY DOES HE USE WORDS in the ppmarily physical art of dance? "I don't have an intellectual response. I suspect that I am not a totally abstract artist. If in the course of a piece, if I want to pass along some comment, rather than make copious program notes so you can understand what the dance is about, I just talk and tell you what I'm thinking and moving about. "I don't fully believe movement on its own does it. I don't think there are happy movements or movements of longing, there are only gestures. We have seen hundreds of movies in which somebody got left behind with their arms sticking out in front of them. We have been taught that those movements always mean longing. "Words and movement are more ambiguous than we ordinarily think. You can only trust them so far." - GORDON SAYS THE SATIRICAL twist in his works is "uncalculated." And audiences' reactions to his works continually amaze him. Several times after he performed "Close Up," a piece he thought Wei§ funny, people came up to him "moonyeyed" as though they had just seen a very romantic piece. For another piece, he played two back-toback tapes: one explained that. the dhnce was choreographed by an elaborate chance method; the other described a "mystical procedure having to do with color." And both were a joke Gordon was playing. The dance being performed with the tapes had nothing to do with either procedure de scribed. "I can't tell you how many letters I got from people who told me they work just like I do. They said it was their s rstem too. Bright people took it perfectly seriously." IN THE DANCE "Trying Times," Gordon put himself on trial for "abandoning post-modem dance or not knowing what the hell it is. A judge stood up, and my wife was my defense attorney against a prosecutor who had lines like 'How can we recognize his signature piece if we can't even read his handwriting?' " For someone who has an affinity for words in their work, Gordon has some defi-· · nite ideas about some words he'd rather not hear. One of them is "premiere." It doesn't apply to his work because he continually borrows from himself when starting new pieces, he says. . "I not only see no reason why I can't do it. I think everybody does it, they just don't acknowledge it." HE ALSO HAS DEFINITE IDEAS about costuming. For the Sharir dancers he has chosen trousers that look a lot like those he ordinarily wears: army fatigue-style pants with buttons at the ankles and oodles of pockets up and down the le~. "I made everybody look like me," he_~ chuckled. "I want everybody in clothing that I think is attractive. I hate unitards (leotards that stretch from ankle to necl6·; because they're unflattering to everyone except New York City Ballet women (the ultra-slims of the dance world). I also hate them because they are made of that shiny material that makes everyone look like· a diseased sausage." The Shamir Dance Company will pre.. sent David Gordon's choreography beginning March 26 at the Performing Arts Center. Austin American-Statesman Photo by Ellen Wallenstein Sharir's 'equal opportunity employment' method of auditioning Sharir's piece, "Collage," premieres with The Margaret Jenkins Dance Company dancers has brought hearing and deaf artists together. his new company. shares the bill Saturday. Deaf, hearing dance to_shatter divisions . "". By DEBI MARTIN Special to the American-Statesman The idea of equal opportunity,has caught up with the dance world. Arthur Mitchell, who formed Dance Theater of Harlem, challenged the notion that black ballet;inas couldn't make as poetically beautiful swan queens as did whites. In the same vein, until local choreographer Yacov Sharir formed Austin's American Deaf Dance Company in 1976, few people thought deaf people could become dancers. One of the stigmas against d~f dancers was that they couldn't hear music. Since Sharir, like many modern choreographers, uses music more as atmospheric accom-· paniment rather than beat by beat, his dancers' ability to hear music was irrelevant. Not only was his view on the relationship between music and dance a suitable format for pioneering the deaf dance company, Sharir was ready for the challenge. "I WANTED TO FIND out how to put a composition on deaf people without sacrificing art for limitations," Sharir said. "Hearing dancers can use sound cues to keep time with each other. So I began by developing communication systems for the deaf for when they couldn't see each other and were in motion" Sharir's goal, then, was to show that deaf people -given proper training -could become professional dancers. By the summer of 1982, Sharir and his dancers felt they had made ample progress. The group toured the South, East Coast and throughout Texas, and performed regularly in Austin. More ·,,,.·t1,,, , UL' A ~r: * 1 ~ t(t:r};i.(,;' ~......-~~y-· ... ~ ~i.:t~ \I~.....~ ~..;z:,ov ..the. & . 1mpo~t, they h~d become ~own not as deaf artists, but simply as artists. It was a time to move on. "IT WAS AN EVOLUTION. I never felt like keeping a deaf dance company was my job. I cared about the personal challenge of providing the mechanism for deaf people to dance. Once I reached my goal, the next thing to do was make sure the opportunities are equal for everyone and that people should be judged on their talent, not wh~ther or not they can hear." When he formed the Sharir Dance Company in the fall of '82, he hired dancers on the basis of talent alone. He ended up with seven hearing dancers .and only two deaf dancers from the previous company: Rosie Serna and Mario Illi, Jr. The company will debut.at the Performing ~CenterSatur ~Ywith a new work by S~rand another piece by choreographer David Gordon. The Sharir dancers will share the bill with the Margaret Jenkins Dance Company. "I AM COMMITIED to offering a first cl8$ company that will reflect work by the best people in the nation. My point of view about dance is that whatever is created to day is the dance of our day. I don't care who it's done by. I want to demolish the idea that post-modem is one its own, modern is one its own and ballet is one its own. Quality is what counts." Sharlr is an all-around risk taker. His choreography is characterized by nebulous balances executed at high-energy speeds. He did what others said couldn't be done with deaf people -turned them into professional dancers -and now he's willing to take chances with his bill in exchange for _ artistic integrity. "rrs NOT ABOUT losing or gaining money. I feel other people play it safe for certain reasons. Fine. I am interested in presenting our point of view about dance without financial interference. I will not choreograph a work for a bill, whatever piece I create is what I will present, it doesn't matter if it matches the bill." The deaf company, which had a similiar arrangement with UT, enriched the academic environment. It became common to see hearing dancers in the studios using sign language with the deaf ones. And.as it · is with other disability groups, once given equal opportunities, they often stimulate other people's growth and biases. "WE COULD HAVE introduced vibrations through the floor," Sharir said, "but -· because their abilities and senses were so sharp, I stopped thinking of them as people with limitations. I really found out it my idea about what they could or could not do. I was the one that changed. I matured to see how sensitive they are." He finds their particular physical affini Sharir can afford to make such state-_ties appropriate for pure dance. Since . ments because he's adept at hot-wiring together the opportunities available in the arts funding parts store. When it comes to financial backing and studio space, Sharir is steering a solidly built vehicle, firmer than almost any other dance company in town. BE OBTAINS FUNDING by the project, often years in advance because of application deadlines He has received funds from the National Endowment for the Arts the Texas Commi$ion on the Arts and the 'Austin Arts Commi$ion. The company's day-today expenses are taken care of through Sharir's arrangement with the UT's drama department: his group is the dance company in residence. UT provides the company publicity, rehearsal space and a stage at the Performing Arts Center. Sharir doesn't impose musicals structures on most of his dances, he often has the dancers keep time with each other by having them follow one depend~ble lea~er. In his present company, Serna IS ofte~ singled out because her sense of rhythm IS as synchronized as a Swi$ watch. _. "ONCE SHE GETS the timing set in her body it never changes. But for a hearing dancer it always changes because their ego is much more heavily involved. They are much more willing to find other resources and having to use other senses." Not only is deafness no barrier to being a dancer, in some ways it may even be a specialized plus in today's world of pure dance. · Sharir says the deaf are much more visually aware. And after all, dance isa visual art. Austi.n American-State~man Sunday, January 30, 1983 Hearing dancers ioin deaf, attach to PAC By DEBI MARTIN Special to the American-Statesman From 1976 to 1982 the Sharir Dance Company was known as the American Deaf Dance Company. Based in Austin, the group presented ten seasons locally and toured nationally. It was and still is, the only company in the United States providing professional dance training and performing opportunities for the deaf. One of the initial goals of the ADDC was to bring the deaf dancers to the performance level of hearing dancers. Having met this goal by fall 1982, Artistic Director Yacov Sharir opened the company to hearing d~cers. Formerly the ~ce company in residence in UTs drama dep~nt,the SOC became the resident company of the h.rforming Arts Center last summer. The company's March 2ti'"lerformance at the The American Deaf Dance Company !las been opened to hearing dancers, changed its name and became the resident company at the Perform -i ng Arts Center. PAC will include David Gordon's new work and the Margaret Jenkins Dance Company from Cali fornia Energy, Impulse, &Yacov Sharir Story &Photographs by EllenWallenstein •~•...• he Sharir Dance Company is headed by choreographer and teacher Yacov.Sharir. Born in Morocco and brought up in Israel, Sharir studied visual arts and sculpture before becoming a dancer at age 19. He began to choreograph at 34, working with a friend who was training the deaf as dancers. In Israel, Sharir helped develop a new sign language that uses gestures to describe the movement of dance. It has since become the international language for deaf dance. A short, dark, fuzzy-haired man of 40, Sharir looks like an Israeli Harpo Marx, and indeed Sharir insists that his dancers be paid. ''We are professional. The dancers are paid a salary for their artistic projects," he says proudly. he uses mime and sign language with as much humor and hu manity as the movie comedi an. Sharir has an intense pres ence; you know at once that he is powerful-he proves it in his dances and in his direction. While directing the American Deaf Dance Company, Sharir taught dance at UT, where he continues to be a member of the drama faculty. He's choreographed for many companies, including the Batsheva Dance Company, the Kibbutz Dance Company, the Israel Ballet, Hartford Ballet, Dallas Ballet, San Antonio Ballet, and the Austin Civic Ballet. His current troupe, like the ADDC before it, is the company-in-residence at the UT drama department. The ADDC, which Sharir came to Austin to set up, was a success. It gave deaf dancers the chance to become professional artists, and the confidence to become leaders and teachers in their field. From there, Sharir formed his own troupe, attracting some of the best dancers in Austin. The Sharir Dance Company has ten dancers, two of them deaf: Bonnie Bratton, Michael Carrocicio, Kate Fisher, Susan Grubb, Mario Illi, Jr., Marta Matthews, Melinda Roberts, Leticia Rodriguez, Rosie Serna, and Patti Willey. All were picked by Sharir from the Austin Repertory Dancers, Austin Ballet Theatre, Hartford Ballet, UT, TCU, and the ADDC. "I don't audition," says Sharir. "I choose people who I feel, first of all, have the professional attitude to handle that kind of work, and second, who would be mature and positive about their Sharir uses many of the same dances he used for the American Deaf Dance Company, with one difference: four of his new dancers can perfonn on pointe, which expands his repertoire considerably. 40 M ARCH, 1983 THIRD COAST 41 THIRD EAR work. And not angry or frustrated.... I'm more interested in the quality of the entire group and interrelationships for a greater accomplishment artistically than for an individual who is very good, but his character is impossible to work with, because he can poison the whole group atmosphere, and my group work is too important." Sharir's dancers depend on the interaction of small networks that form the whole. They often rehearse in small groups, later integrating the pieces in the whole structure. The dancers trust each other, a trust that is especially important for the deaf dancers, who are dependent on visual cues. The extra effort necessary for communication seems to make the dancers more sensitive to each other. Everyone has learned to sign to some extent, and Sharir explains himself simultaneously in spoken and sign language. There is less ego and more energy. The dancers bring a professional attitude to their art, and their varying levels of experience and expertise are neither important nor noticeable. Respect, admiration, and good humor bind the group. Although Sharir makes most of the decisions, he confers with the group on certain matters and talks over his 42 MARCH, 1983 Passion for dance is more important to Sharir than technical skill: he looks for the artist who will persevere when the ego is crushed, the muscles tired, the mind frustrated. Of a former student he once said, "He is not the best dancer in the world, but he is an artist, and that dedication will enable him to become a great dancer." 'If it's not right, you get out of it' The Skunks were an Austin legend, but Jesse Sublett's glad it's over At Club Foot, on February 5th, the Skunks played their last gig, ending a five-year career which started at Raul's at the very beginning of Austin's "new music" scene. The Skunks were more than just a popular local band. They had toured extensively, supported numerous major acts (the Clash, Squeeze, and Cheap Trick, to name a few), had produced sev eral singles, and more recently, an album that was well-received lo cally and nationally. In an inter view with Third Coast, Jesse Sublett talked about the early days at Raul's, the music busi ness, and why he broke up the band. Jellyroll was really the first professional band that I played in. If we thought the Rolling Stones would do a song, then we would do it, we did a lot of their songs, but basically we were a band that did blues covers, but did them fast and loud ...real loud. Yeah, Eddie was in that band (Eddie Munoz, now in the L.A.-based Plimsouls). Before that, Eddie and I were in the Queen Bee Revue. We did some Young Rascals songs and the lead singer dressed in dragwell, semi-drag-and we had two female back-up singers.... It was a pretty cool band. In 1977, we started hearing Elvis Costello singles and stuff, and first Eddie wanted to start a new wave band as a joke, just to shake people around here up. But I didn't want to start a band as a joke, so when Eddie's girlfriend started a band (The Violators), and they couldn't find a girl bass player, I joined them. (The Violators included at one time Kathy Valentine, now bass player with the Go Go's.) They weren't really recordable, it was pretty raw, but man, it was fun. It really shook people up. Eddie and I then started the Skunks. I played in both bands for about three or four months, which was about half of The Violators career, but it was a really intense three months, really intense, I mean things just changed, snowballed really, and I used to write...to the Austin Sun and The Daily Texan, and harass the radio stations and ask, "Why don't you pay attention to what's going on at Raul's?" and it started getting a reaction. The Skunks' first album venture was a fiasco. Anxious to get songs on vinyl, the band started recording "before we had any contracts," according to Jesse. The only problem was that Rude Records took two years to release the album. Jesse was none too pleased. "I went to every retailer in town and explained what it was and that I would appreciate it if they didn't carry it. just about all ofthem cooperated." And then just to prove a point, he took the Skunks into a garage one weekend and recorded the single,"Earthquake Shake." It was awful sounding, but it does have the feeling of urgency about it. That was the first Austin new wave record, and the first one to get played on the radio. ...That's my personality, you know. When I want to do something-I'll do it, and then I get into these agreements with people that don't work out and if they're not right, then I'll do my best to spite them...or get out of it. I mean, if something's not right, you owe it to yourself to get out of it in any way you can. Especially when you're dealing with people that don't live up to their obligations, who are not businessmen, and are older than you and have more money. Despite their business hassles, the Skunks played on, to become . one ofthe major acts to survive the Raul's scene. With their cut, "Push Me Around" on the "Live at Raul's" album, they made KLB]'s top 20 requests ofall time. Eventually, they signed to the newly formed Republic Records, and cut their first official album in Los Angeles. Former Beach Boys' engineer Earle Mankey was the producer. We did get the opportunity to go into a real studio and work with a real producer. That was a good opportunity, but.. .I would caution anybody against signing with anybody, unless they've seen a lawyer, because if nothing else, a lawyer is going to be supercynical and ask you, 'Why in the hell do you want to do this?' You need to know that somebody is a professional, and shouldn't just get involved with somebody because they seem to be a nice guy. I think Republic spent about $50,000 on the Skunks, which is nothing to sniff at, but then Jour ney probably spends that much going out to lunch. I don't feel too guilty (about the band break ing up right after the album's re lease). They took their chances. .. .I don't want to piss Republic off right now, but I don't think it would piss them off to hear that they weren't ready to be a record company. They're still just now trying to figure out how to do it. I experienced a real letdown after we'd recorded ...because in four years, I'd written like 60 songs, and finally we had a real bona fide album, and I only got five songs. Just getting away from the Skunks was the only thing to do because I've got these new songs and they're really where my head is at now.... I'm tired of being a Skunk! For the last couple of years, people have come up and told me that the band was not exciting, that the guys (guitarist Doug Murray and drummer Greg Sublett) were just not interesting, and I always used to stand up for them, and used to think that all that mattered was that I had good songs and the personality to pull it off, that they could be robots. But it's not true-people like to see a band. They just don't have the emotional electricity.... I tried to tell them to think about the lyrics in a song and get into the mood of it, but.. .I felt like the Skunks were Barney Clark and I was the artificial heart. You can't sing well unless you put your heart into it, and you can't put your heart into it if you're not getting the support from the guys around you. And once I got the idea of starting a new band, with a new name, and new songs, I just couldn't get it out of my head. I'd look in the mirror and see a promo picture of my new band. Jesse is excited by the idea ofa 'new band and experimenting with new sounds. Like many of us, his tastes have changed con siderably in the last five years. During this interview, for in stance, he played a wide range of contemporary music: Yaz, Cameo, Erector Set, David Bowie, and his all-time favorite, Roxy Music. I think a lot of people would be surprised at my tastes. I think they'd be shocked to hear that I also listen to Edith Piaf, Marlene Dietrich, and Frank Sinatra. The new band? I'd like to have a core of guitar, bass, drums, and keyboards, with perhaps another guy who could play saxophone and maybe guitar and percussion-but that's like dreaming. I'm looking forward to the new challenge because I'm burning a couple of bridges, cutting off a couple of branches. But I like challenges, and I need to work with other musicians to inspire me and change my style .... I'm playing better, writing bet ter, and singing" better. And getting better-looking every day. * -Tim Hamblin Frummox duo rides again "Frummox II," Steve Fromhoh and Dan McCrimmon, Felicity Records (1982) Steve Fromholz has always been caught up in American myths-especially the ones that have already seen their days of glory: the man in the big hat; freight trains and hoboes; riverboats and risktakers; semis and hitchhikers. These are the poets of the road who articulate freedom through movement and dreams. More than a decade ago, the original Steve Fromholz and Dan McCrimmon partnership produced a legendary tribute to vanishing heroes and slower times. "Frummox" (and from it, "Texas Trilogy") was probably the single I most requested album during the height of KOKE-FM's progressive country era. Fromholz, truly a man for all seasons (he stole the celluloid from Peter Fonda in "Outlaw Blues," and later starred in the acclaimed "Willie the Shake" at the Trans/ Act), recorded a series of LPs after Frummox, but the musical synergism of the first milestone album was never recaptured. The first Frummox album was a collector's item (copies of the original going for $35 to $50 before it was re-released). With "Frummox II," the legend lives. The writing is first-rate and the musicianship faithful to the Frummox tradition. Fromholz and McCrimmon harmonize like a lonesome whistle's whine, and Ramblin' Jack Elliot lends a back-up vocal on the album's best cut, "The Angel." This is a Fromholz song bound for glory, reminiscent of John Stewart's "Sweetheart on Parade," using trains and movement as metaphors for America's emotional landscape. "White China Canyons" could be a lyrical passage from Kerouac. The song is a fine tribute to life on the road: the only things that matter to a hitchhiking man are a cup of coffee, a fresh pack of smokes, a plate of ham and eggs, and a friend amidst the highway's solitude. It's white-line fever and no place to call home. There's a trilogy, too, with the emotional impact of "Texas Trilogy" called "Steam and Diesel Suite": three traveling tunes that move us across the country aboard riverboat, semi, and freight train with the poetic energy of Hank Snow's "I'm Movin' On." Maines Brothers hit high gear "Panhandle Dancer," The Maines Brothers, Texas Soul Records (1982) Switch gears now, and let's follow the highway north to Lubbock and to what could be called the second wave coming out of the musical capital of Texas. The first? Joe Ely, Jimmie Dale Gil more, Butch Hancock, Tommy Hancock, and further back, Buddy Holly, Waylon Jennings, and Tommy Alsup. And now a new surge with the Maines Brothers an,d their album, "Pan handle Dancer." With a list of supporting players that reads like a Muscle Shoals session, and the enthusiasm and family ties of the Carter Family or the Supernatural Hancocks, Kenny, Donnie, Lloyd, Steve, and La Tronda Maines do a fine job of playing what could only be called "Lubbock Music." After all, nothing like this comes out of Denver or Butte. And the Maines Brothers certainly have the West Texas heritage. The family hails from Acuff, home of Acuff's Steak House, right outside Lubbock. Their daddy, Sonny, and his brother, Wayne, were the original Maines Brothers playing the Panhandle dance circuit back in the '50s. Kenny Maines spent his Sunday afternoons at the regular Cotton Club gigs as early as age 13. The band has played together for more than a decade, touring with Ronnie Milsap and others. Lloyd Maines played steel with Joe Ely and Butch Hancock on early albums, and Kenny and Donnie Maines played bass and drums on Butch's "Wind's Dominion." Today the Maines Brothers' lineup includes Kenny, lead vocals; Donnie, drums; Steve, rhythm; Lloyd, rhythm and steel; Jerry Brownlow, bass. But there's a whole lot of other folks pitching in to pick and grin. There's some old standards played with grit and polish"When My Blue Moon Turns to Gold" and "Honey, Don't"-but the excitement blown in by the West Texas wind is songwriter Kevin Welch, possibly as fresh and original as a young Butch Hancock. Three high, lonesome cuts exhibit Welch's songwriting prowess and the special kind of chauvinism unique to Panhandle musicians. "Panhandle Dancer," with its "dustdevils in my heart ... stones in my eyes" description of Panhandle emptiness, would be a natural for WaylomJennings . "Reno and Me," reminiscent of a "Me and Bobby McGee" relationship between two highw,_ay vagabonds, recalls the time "somewhere outside of Kansas City on the highway that leads to Cheyenne, the radio quit on a song by a Mexican band." Like Kristofferson's "freedom's just another word," Reno and his buddy discover "when you're calling the highway your home, it doesn't matter which way you go ... when every old town's just your past burning down, it doesn't matter which way you go." Ponty Bone adds a memorable accordion to this one. Welch's "Crazy Wind," and a knock at Nashville citified country called "Flatland Farmer" by Terry Allen (who wrote "New Delhi Freight Train") shine like honky-tonk lights on a chrome * bumper. -Carolyn Allen THIRD COAST 39 ideas with Kate Fisher, associate director, and Susan Grubb, rehearsal director, who both teach one class a week. Sharir composes his dances by working out a structure, which he describes as a combination of impulses and reflections. This beginning, which is often sketched out on paper, provides a germ from which the dance is nurtured. It is an integration of the spatial and the visual: good theater. One dance, "Circles," is performed in silence, with only an ankle band of bells and copper bracelets on the dancers, who wear luminous leotards of blues and beige. They look like animals in a forest coming out quietly to give a small message to the world. Sharir's newest dance, "Collage," set to music of the same name by Italian avant-garde composer Luciano Berio, mixes levels of sound as well as political phrases and repeated imagery. The dancers are in continuous movement in groups of twos and threes that change at any given moment, in an organized yet seemingly chaotic way. Because Sharir's choreography combines many styles of danceballet, modern, jazz, folk, and even gymnastics-the training and diversified talents of his The new company has a good chance for success, says Sharir, "because the dancers are rooted in this community. They're in their home town, and so they have built-in recognition." THIRD COAST 43 '1 deal with dancers," says Sharir, "not with hearing or the lack of it. My desire is to be a choreographer with an open door to professional dancers. I worked with deaf dancers before because I wanted them to be professional dancers, to go out and give other deaf dancers that same chance. I have a professional dance company, period." troupe are put to full use. As in any discipline, you make a place for it in your life. In this case, it's four hours a day, four days a week, and countless hours on your own. It is work, like the nine-to-fives we do to pay the bills, but over and above that, it's a commitment. "It's not only a commitment that you make, it's a commitment that you live and feel," says Sharir. "That's your destiny, that's your luck. If you happen to be an artist, no matter on what level, it really is a privilege, and if you take it as a punishment, it's reflected in your work. I'm frustrated sometimes, I'm unhappy at times, but on the whole I feel lucky. I'm fortunate to find a group like this...." Sharir's biggest contribution to dance may well be financial. In 1977, with an NEA grant already in hand, he went to the Texas Commission on the Arts for matching funds. Fine, said the commission, but what's this about salaries for the dancers? Unheard of in Texas .... But Sharir was stubborn, and in the end, his dancers were paid. In the six years Sharir has been in Austin, he has watched the dance community grow stronger and more reputable nationally. Other local choreographers-Deborah Hay, Dee McCandless, and Sharon Vasquez, all of whom have collaborated with Sharir-have also contributed to Austin's dance reputation. At least four professional dance companies exist in this town, not a bad ratio for the population. And Sharir is committed to stay here. "This is our hometown," he says. "Austin has · not only great potential, but the fact that there is so much going on creates an atmosphere unmatched all over the state, and maybe all over the South.... A lot of it is not very good, but a lot of it is good, and a little of it is very, very good, and that's all it takes." tr Ellen Wallenstein is an assistant professor of art at UT. The Sharir Dance Company will be at the Perfonning Arts Center on March 26, 8 p.m. For more infonnation call 471-1444. 44 MAR CH, 1 9 8 3 r'nvn ,,.,o:i :i"~ -20.6.76 'N ci' ri~i ':lni~ iyun J'I'''' "l.:l 1700 1f.. 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'n"l!IX n'tl>J 'lim<'il:i·11pin 011 1"1"~ Optique d Couleurs n~ ,?OOi' iNn~ N1il i:::1. .,~o ,(C'll'::liil riv~rJD1N) ?:V:l t:l'Y:l'~ p•!j;t!,V "C'lT::ll inJOD,, • 1'1'7P ?:v 11V'Pil irv;::> ,il.l1TV i1~'.!m1 n?1li1 'Cliil "1"iil ,,,i 1911 n .. w::i ·;r 'l1WN,,., inx ?iM ,'v0l'1lj:' '''0N'1 • '~lV., 'n?:im t:)lVD'~l'i llllOl C',1'"l ,~, rn'il? ,,,xn :i~'" 'vel'ilp 'D ?:11 :i:;m'tv rinn : i'.! ?:> , ' .,;-. m'o.,':n ?VJ Z'i~~'ll pi 1i1 Ol l1'il" , :t?:" ?'IK i1?M ,,, .niii~i C'li'::l':l ,C':l~vi il~'~l • n1'iu s;,,:i n,c;r?:)? C'litvN., C'l':l'l en 20.4.71 'l ci' . l '' -. --: -. il~)IU'1 'n tl''l' !li)J;i n"li:irm"I'~' i~l ~inn npn~:i Jn"lnx nlQin ""''~' ,y:iw-n:i .,.'ll:lil\ 1ii'iM ~~>l '7'1"1£lN i1 'll>J 'l"lm< -~, in' ~IQ "'Y'ti!I -) M!>l '11i!lK ."iin .,,:in nm.ny;i 'nl'O J'l'li''"l~N. l Jl'l:llN; nii'o in!'b ,,p,l,!l m:m~n ~IQ )'inNn :mi:i .n,i:iil m~iNl -; ,,:in Nin inx~;i O'niNn mn nvi'1~ -:i nl "1'110l Ul'IN J'I,,,, J'l')~nm .nnt.Jio •z-<'n ,,,,,~Mn ~VI tniv :n< ,,,:i'-l,;n ,~,,n N'n ,,,,,,,"3, ·:i 1'tJVVI ,,,,,:1"3' ·~iM nim 'l •itJ; nv'tJ''-3 'V"i' 'ill tu~uinJtN ,,"3n; Vl1'':i ,c,v:i~ 'VJ ,,,,.,VI c'v:i~ '"itJ:i ,c,nnn :in:» .,11~1 tJ'1~~'V 11lli'T '.0 ,,_ D'l .tun ,1740 tut!'!l .1:>~ in;? mTV C"l'IN~ 'M1? lN~i:i ,'n£)"1J:J 'r't''il :rn.1 CO.,D :i"r.nvn ri::i~ ~ -27.12.71 ~ ci• il:i:> .ni1"v i~p ir.n ,,n, "'iMn:i D"?nnVJ ''-l1M'l'!1n ~nntln '!l'""!>r.> nitn v:iVJ·n:i npn' ,,,,,,~ 2'"" 1'-l~n ,,,!>, ,inl'!J. n:i1'?n npn'n \?io : n1,:m rn:h\?.'-J ,nMtl i1Mr.> n~i' nn'n npn'n 'VJ m ii1'-lnnn ,nMt '=>:i 1M .,,,, tJ''-lMl ,,o,,VJ n>i) ~npn Ji''"" nl'lM?,.,r.>Mn inpn'n '"' "'T'-l "'"""""'MmmN,,n :i:>in:i nl~Wl ,,,~, 1:i1iw m:ii .,,,"' !li'>'' ,npn'n i:in ii?im .,,,!lln :im:> ':i'""nn 'VJ 1!1'" ·'t)OJ>~ cip~ '" nio ''' .c1r iac ll'? n~:s.i .,,. 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'.tm< Y'ntm'IU mn ·i'i~:iii il'MVl ?np ,lt"iK 'inp •?ni;m ,1::ii~;, :l'l~ ac? ,n::i p11i iri< ,ii~nn? 31ii~ , ·'llDir.i N?i -imc i~p~:i l'tiiP il'i1 m i':>'N nn,,:i:i n~ac:i nMT ?:iv~ 'n"it'a.' t:>n' KJ~l 'lNW ,,.,, 'lin:llt' K? ?::iN .n::n1' .1971·::ii O'iMD:l ,?:l'~O!):l ·i1>i npn? lC'il c?iili"!1''1U~ npn'7n K'l1 1K ,1'?Mi1l n'lil':l ,l"\'ON?p iNit> ·n iNil:'i1>irr :lt>'?)~ nnnn~N::i nM'IU1l -; ii:i:m n'l n'n l=> ,~,, .'~iM?l':l •? ,,~Yi'I i'IUK Ol':lii O,,,l l'\K niM "oil?,, nN?Dll1 iz,,,:it' rnc nnilt'i Cll "l'IUN 'v0l'1ii~O ?ti! l'lji'tm'~ '!l·?~ ·:ii ,O'iMDl ?:l'~ODi'I Z'l"llO~:l nll1i1 ·n ii::i11 :im ciD nnm i1N'Sinmu 1::ii:o •"'lni'::i n?iiln il'¥vmic 1 ci'n M'i'I Ol':iii ?'IU 11011?,, ni'lt'it iNit1iD"li1 ?'IU Z1D11:)i'l nii·i:it'~ nnN nivrJl ac?i ?in~i c?131:i 'liiil:) 'o?pn •?:l't::IOD:l OiD:l nn::ir ·:i i1DM'IUi'I i'IUN 1'1'lV'~Mil ilj:'i'l?il .n'Tliil'lt~ ii?p?i1> npn? ~WT ?:l'DO£l ·n~ l"lilil'? 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PAR4f\l\OUNT THFATRE . $5-GENE~L ADMISSION TICKETS AVAILABLE AT PAR4f'J\OUNT THEATRE & DANCE ASSOCIATES 605 Neches-(at 6th St) 478-0047 AU5TIN REPERTORY DANCERS COMPANY PRESENfS C~OREOGRAPHY BY Robert Small Yacov Sharir Sharon Vasquez SEPTEMBER 5, 8 P.M. PAR4N\OUNT THFATRE $5 -GENE~L ADMISSION TICKETS AVAILABLE AT PA~N\OUNT THEATRE & DANCE ASSOCIATES 605 Neches -(at 6th St) 478-0047 THE AUSTIN CIVIC BALLET WHERE THEY ALL COME TOGETHER October 12 & 13 8:00 P.M. Hogg Auditorium Co-sponsored by the Cultural Entertainment Committee of the University of Texas Tickets: Hogg Auditorium (October 1-13) Highland Mall (October 1-8) $6.50 & $5.50 (CEC--$4.50) · For Information Cal I: 454-8193 March 5 *The Daily Texan Weekly Arts u_~---Entertainment Magazine Will residencies lower curtain on . one-night stands? ... see stories, Pages 16-18 'Concerto' exhibits best of Hartford By KATHY SAMON The Hartford Ballet is a company that tries hard: its extensive repertoire includes classical ballet and modern dance, and the choreography is technically demanding. But its performance last Friday night at Hogg Auditorium appeared more like one by a "company in progress" than one by seasoned professionals. Of the three dances, "Percussion Concerto" presented the company at its best. Austin saw the world premiere of the piece, choreographed by Yakov Sharir, artistic director of the Spectrum American Deaf Dance Company. The Hartford dancers, men and women, were spontaneous and energetic in their movement. Perhaps it was the solid and creative choreography that set them at ease, for they seemed to know precisely how to react and what to feel. Thomas Giroir particularly understood Sharir's choreography; his movements were aggressive and yet easily fluid. The program notes explain that Sharir approached this modern ballet piece from the point of view of having the " rhythmic construction of Paul Salzado's music interact positively with percussive patterns." The dance was full of percussive music and bold, sweeping movement, which connected to form a tensely charged yet fluid atmosphere. THE MEN FINALLY came alive in this piece. They no longer held back in their movement or tried to assume a grand attitude, as they had in the two previous dances, "Grand Pas de Dix" and "White Mountain Suite." In those pieces, their attitude was often lost along the way and replaced by stiff facial expressions, halting movement and a total absence of musicality or fluidity. But in "Concerto" the men energetically attacked space and extended each movement to its fullest. Absorbed and propelled by the percussive music, they projected a physicality and unpretentious masculinity that was forceful in its direct delivery. If "Concerto" was a presentation of the Hartford's strength, the other two dances were indications of weakness. The women carried the program in both dances: they were strong in technique; clean and exact in movement; and secure in their stage presence. The men somehow missed the essence of each dance. Not only were they not as technically proficient as the women, they were shallow in stage presence. "PAS," INSPIRED BY Marius Petipa's 1898 work, was an opportunity for the dancers to individually display their talents. A purely classical piece in the style of the Russian Imperial Ballet, it is a dance which demands that the personality of a dancer fill the movement. _ The women, especially Jeanne Tears, convincingly maintained a grace and femininity that contrasted with the strength demanded by the difficult footwork. It was disconcerting to watch the men trip through complex steps with an attitude fluctuating between inept attempts to be forceful and frozen looks of concentration. Roland Roux, Tears' partner, is one of those dancers who seems to have an on-going battle with choreography. His main desire is to get through a series of movement as quickly as possible-and as best he can-with no correlation to music or timing. "White," choreographed by artistic director Michael Utoff, was a collection of four different dance pieces. All four were performed well; it is regrettable that in this - case the choreography never evolved past mediocrity. The problem with this suite is that the images and movement have all been seen somewhere, sometime, before. Occasionally this overuse was intentional; in "Ode To Jose" a few of Jose Limon's signature movements were included. But the times when mundane movements were not intended to be mundane only served as Utoff's signature on ordinary, average choreography. "Alone," "Sonata," and "Jose" were not terrible, but in this suite Utoff did not create an interest in a girl in leg warmers who plays with movement (''Alone'') or a dance full of movement reminicent of Alvin Ailey's "Revelations" and the Joffrey Ballet's "Trinity" which is still presented as an "Ode To Jose." But the romantic ''Duet'' was not even tempered in sentimentality. Watching this piece was like seeing an old Fred and Ginger dance without the technique and personality of this famous couple. It was not too unnerving when Cynthia McCollum leaned into Robert Buntzen's band and he gently pushed her shoulder into a gentle sway. But when he nudged her four times, and then repeated the sequence, it was unbelievable -unbelievable that it was a serious attempt at romanticism instead of melodrama. The Hartford Ballet presented a view of what the company may be capable of in the future. The potential is there: strong women dancers ; a few strong men dancers; and a repertoire that explores modern dance as well as classical ballet. But a successful professional company cannot rely on a few good dancers or a handful of choreographically sound pieces. Nor would a truly professional performance leave one with the impression that there is a lot of work to be done. Members of the Hartford Ballet rehearse Friday in preparation for their world premiere of the 'Percussion Concerto.' Photos by Kathleen Cabble Locals to join Hartford By MELISSA TOOMIM On Feb. 26 the Hartford Ballet held an audition in Austin to recruit dancers for its company. Approximately 30 dancers from various parts of the state showed up for the audition. Out of this group, one girl, Teresa Nation from the Austin Civic Ballet, was chosen for the Ballet's Chamber Company. She will leave Austin in August to join the Hartford Ballet as an apprentice. Nation started her training in Marietta, Ga. She has been dancing with Eugene Slavin and Alexandra Nadal at the Austin Ballet Academy since they arrived in Austin in 1972. When questioned about her feelings on being selected for the company, Nation replied, "I'm scared. Because I don't know what to expect." PAMELA SCHULTZ and Christine Rogers, both students at the Academy, have been offered scholarships to study in Hartford for the summer. Schultz has already accepted the offer, but Rogers is waiting to hear from the School of American Ballet in New York City before she makes any decisions concerning this summer. Two Austin men also were approached at the audition. George Stallings, a dancer with the Austin Civic Ballet, also is being considered for an apprenticeship with the Hartford Ballet but has not as yet been notified for certain. Joe Bill Harrison, a 21-year-old Austinite who has had no previous experience in ballet went to the audition Monday and was offered a full scholarship to study with the Hartford Ballet for the summer , which he has accepted. CAVE OF THE HEART Media: Rena Gluck Jason : Rahamim Ron The Princess : Nurit Stern The Corus: Rina Schenfeld Choreography : Martha Graham CStaged quote by Linda Hodes> Music : Samuel Barber Set : lsarnu Noguchi Lighting : Maim Tchelet In Greek mythology, Medea was the Princess of Colchis and renowned as a sorceress. She fled from her home with the hero, Jason, to Corinth and lived with him there and bore his children. But Jason was ambi tious arid when he was offered the-hand of the Princess of Corinth in marriage he abandoned Medea. Maddened by jealousy, Medea sent the Princess as a wedding gift a poisoned crown which killed her when she put it on. Hhen Medea destroyed her children and left Corinth in a chariot drawn by dragons. . "Cave of the Beart" is Martha Graham's dramatization of this myth. The action is focused directly· upon the central theme of the myth : the terrible destructiveness of jealousy and of alliance with the dark powers of humanity as symbolized by magic. ~@)~@)~@)~@)~ "70RLD PRElVIIERE A Tribute t 0 Cocteau In 1917, Jean Cocteau stunned Paris with his bold new ballet, PARADE. Now, the acclaimed Hartford Ballet presents a brilliant new version, a world premiere of the new PARADE choreographed by UT's own Yacov Sharir. Also presenting: The Hartford Ballet in Balanchine's exciting ALLEGRO BRILLANTE and the Sharir Dance Company performing SEVEN LITTLE DANCES (SUITE DE DANSE). &27 PERFORMING ARTS CENTER CONCERT HALL Public: $12, $8, $4. CEC fee holders and senior citizens 1/3 off top price! Tickets on sale at the PAC, Erwin Center and UTTM Outlets: Hastings (Northcross Mall),Joske's (Highland Mall), _Paramount Theatre, Sears (Barton Creek and Hancock Center), Southwest Texas State University and Fort Hood. Charge-a-Ticket: 477-6060. For more information please call 4 71-1444. COCTEAU FESTIVAL UT continues its tribute to the Parisian en/ant terrible with a major Archer M. Huntington Art Gallery exhibition of works by Cocteau and his peers, through November 25 in the Ransom Center. The exciting music of French avant-garde composers is offered in a series of concerts including a major performance of Poulenc's STABAT MATER by The University of Texas Symphony and combined choral organizations. October 21 at 8pm in the Concert Hall. Admission is free. The Department of Drama pays tribute to Cocteau with a production of his finest play, THE INFERNAL MACHINE, a spellbinding classic that pits mortals against their destructive gods. October 23-27 at 8pm in the Winship Drama Building Theatre Room. Public $6; UT I.D./senior citizens $5. CABARET The seedy gaiety of the cabaret masks the swelling threat of Nazi Germany in Kander and Ebb's glittering musical. November 13-17 and 28-December 1 at 8pm in the B. Iden Payne Theatre. Public $8; /UT I.D./senior citizens $6. Tickets on sale November 5. Drama season tickets still available. LA BOHEME A lavish production of Puccini's moving opera about two young artists in 19th century Bohemian Paris and the women they love. November 15-18 at 8pm in the Concert Hall. Public $9, $6, $3. UT I.D./senior citizens 1/3 off top price! Tickets on sale October 29. PERFORMING ARTS CENTER College of Fine Arts The University of Texas at Austin Austin, Texas 78712 Non-Profit Organization PAID Permit Number 897 Austin, Texas '{\le snarit' uance C,Otn\lan'i will \)Ctlortn "Bach," Choreo?P\lh)r b)' Dee McCandless The Qieauve O'PPortunily Orchestra Will prelh; and 'lacov Sharif "freedom ot \niormatlon, P'3rt 3," &•uere 10 . newcomposiuons. c.noreO\;f'.l-\lhY b)' ,\rl\ie '/$le ol the Bill 't Jones {)allce Cotn\lany '· Thursd . ay& Frid · · Para ay, March mou_nt Th BP.m. 26 & 2 Ticket Ticket inti eatre 7 7, 1987 sa/e ormar 13 C sat al/ uti" 472-54 ongli Mnck 7o ess etMasters. Funded in part b Texas Composeis t~e National Endow The Sharir D orum. ment for the Arts T ance Comp . • exas Com . The Creative Opport . any" ;n rasidence at th P moss;on on the Ar1s c ·t umty Orcl1estra ~ . e erlorm;ng Ar1s C . 'y of Aushn. and . 1exas. a pro1ect of the Mus1c. Umbre la of Austin me Art . enter, College of F. s. University of -r 1 Poster desi 9n by Pascale Vial. Non-Profit Org U.S POSTAGE PAID Permit No 2823 Austin. Texas 1986-1987 CALENDAR OF EVEN1S September 19 • 20 -Sharir Dance Company. Chrysalis. and Dancers Unlimited. Houston's Miller Outdoor Theatre October 16-18 -Sharir Dance Company presents Austin Artists In Dance. Capitol City Playhouse October 29 -November 1 -Sharir Dance Company and Dance Repertory Theatre Works In Progress. B. Iden Payne Theatre November8 -Sharir Dance Company at Del Mar College. Corpus Christi November 14 • 1s -Sharir Dance Company with Steven Paxton atTexas Tech University, Lubbock January23 • 24 -Sharir Dance Company and Nina Wiener. B. Iden Payne Theatre February-Ten-day residency with Bill T. Jones and Arnie Zane Co.. Austin March 27 • 28 -Sharir Dance Company and the Creative Opportunity Orchestra. Paramount Theatre Aprtl 4 -Sharir Dance Company and Dancers Unlimited. Dallas Aprtl 23-25 -Sharir Dance Company and Butch Hancock. Capitol City Playhouse May7 -9 -Sharir Dance Company and Kay Braden. Capital City Playhouse SDC ON THE ROAD: TOURING SCHEDULE The Sharir Season began September 19 & 20 when the company travelled to Houston's Miller Outdoor Theatre for The Texas Connection. A contemporary dance festival showcasing SDC of Austin, Chrysalis Dance Company of Houston, and Dancers Unlimited of Dallas, the program was funded in part by Exxon, Target Stores, and the Texas Commission on the Arts. This year SDC will also travel to: ..,.. Corpus Christi November 8 ..,.. Lubbock November 14 & 15 ..,.. Dallas April 4 SDC will be joined concert pianist Kathryn Mishell for several touring dates, and by pianist/composer Steven Paxton in Lubbock. AUSTIN BALLET THEATRE The Sharir Dance Company is pleased to announce its contract with the Austin Ballet Theatre Board of Directors to manage the Austin Ballet 1heatre DancetS'Schoolfor the 1986-87 season. School directors are Kate Fisher & Ricardo Garcia, and Carol Adams is serving as managing director. Exciting new classes have been added to the school's offerings, along with an excellent faculty ofteachers and pianists. Faculty and curriculum include: Ballet/Pointe Modem Jazz Barbara Carson Kay Braden Ken Owen Ricardo Garcia Kate Fisher Wendy Smith Cindie Hardee Teresa Givens Lucretia Lomax Yacov Sharir Sondra Lomax Body Conditioning/Aerobics Deirdre Strand Kate Fisher (Director ofthe Jr. Co.) Charlotte Llanes Tap Daniel Llanes (Hatha Yoga) Carol Adams Billie Oldziey Joann Schatz Pianists Flamenco Shawn Ellison Yolanda Garcia Ruth Huber Carolyn Johnson Pantomime for Children George OldzieyAngel Rivera Sterling Price-McKinney Classes are on-going and are available for professionals and nonprofessionals of all levels. In addition, ABT studios are available for rental. For more information, please call 478-9957, or come by the school atWest Towne Common, 1501West5th Streetto register. SDC IN AUSTIN: COMING EVENTS The Sharir Dance Companyis noteworthy among Austin Artists for its great number of collaborations, bringing together not only outstanding dancers and choreographers, but musicians, vocalists, and visual artists as well. This season will bring a few ofthe best from near and far, and begins • October 16 -18 at Capitol City Playhouse. SDC presents three different evenings titled Austin Artists In Dance, combining the talents of noted artists Sarah Brumgart, KayFrances Braden, Tina Marsh, Jimmy Jtlmer, and Jim Fritzler. Both new works and old favorites will be shown, as well as a few surprises! For reservations please call CCP Box Office at 472-2966. • The SharirDance Co. and Dance Reperfoty Jheatre at B. Iden Payne Theatre on the UT campus October 29 -November 1. New pieces will be presented in addition to a continuation of SDC's work-in progress, The Third?#=®(!)..,''; Ballet. • SDC and Nina Wiener at B. Iden Payne Theatre on January 23 & 24. • SDC and The Creative Opportunity OrchestraatThe Paramount Theatre on March 27 &28. • SDC and Butch Hancockat Capitol City Playhouse April 23 -25. SDC IN ACTION: NEW WORKS In the arts, there is a constant pressure to produce more, to do more, to see more, to make more. This season the Sharir Dance Company has such an opportunity. It will premiere several new works, made by various methods, seen in various stages. • Trio, choreographed byYacov Sharir, with vocals byTina Marsh, will be premiered at Capitol City Playhouse (CCP) October 16 -18. The three dancers are Marta Matthews, JimmyTurner, and Maurice Dancer. • The Third#(f :. ? Ballet is a work-in-progress choreographed byJose Luis Bustamente and Yacov Sharir. Evidence of the growing piece will be presented in three stages: Part I at CCP October 16 -18, Parts I and 11 at B. Iden Payne Theatre October 29-November 1, and Parts I, II, and Ill atthe Paramount March 27 &28. • Shapes, originally choreographed byYacov Sharirforthe American Deaf Dance Company, is being reworked for the Sharir dancers. Jack Anderson of the New York Times described Shapes as almost hypnotic, appearing to take place in eternity. Shapes will be performed in conjunction with the presentation of Nina Wiener at B. Iden Payne Theatre January 23 & 24. • In February, New York's Bill T. Jones andArnie lane Co. will create a piece for the SDC repertory. Their ten-day residency with the company will provide a new choreography for the annual gala performance at the Paramount Theatre in March. PLEASE SUPPORT THE SHARIR DANCE COMPANY Since 1982. the S harir Dance Company has been growing and building a national reputation of performance excellence. A major portion ofthe company's programming involves the presentation of other dancers. artists and musicians to insure that Austin audiences receive exciting and diverse productions. As the Sharir Dance Company's presentations have grown and diversified, so has its budget. For the first time. the company is asking its friends and patrons to help in maintaining the highest quality productions possible. You can provide much-needed financial assistance by completing this form and sending to to the Sharir Dance Company at P.O. Box 339. Austin, Texas 78767. (Office) (Residence) I want to support the ShatlrDance Companywith a contribution of: D S 15.00 Individual D S 100.00 Patron D S 25.00 Contributor D $250.00 Benefactor D S 50.00 Donor ANOTHER WAY TO HELP. • • The Shatlr Dance Company's AnnualGarage Sale is scheduled for the weekend of November 22nd and 23rd. Donations offurniture, clothing and miscellaneous items are gratefully welcomed in addition to donations of time for staffing the sale and transporting contributions. Please call Carol at 478-9957 if you are interested. MANY1HANKS!! REMEMBER: All Donations Are Tax Deductible. SHARIR DANCE COMPANY BOARD OF DIRECTORS Margaret Perry, president Yacov Sharir, treasurer David Rubenstein, vice president Carol Smith Adams Kate Fisher, secretary EXECUTIVE ADVISORY Margaret Perry, president Tom Hatch Rob Abraham Jeff Lindzey Chris Adams Amy Nass-Houston Peggy Bird, secretary Deborah Quirk -Houston Joe Blinderman James Rader Bonnie Bratton, vice-president David Rubenstein -Houston Wendall Corrigan Diane Rudy -Houston Joyce Darmody Jerry Schmidt Sarah Dunlap Schmidt Matthew Steinberg Frank Goldberg Sharon Stewart-Houston Paz Goldberg Gary Zelazny Floyd Harr -Houston ADMINISTRATIVE STAFF Company Manager and Development Director, Carol Smith Adams Production Manager, Amarante Lucero Intern, Carissa Greene Administrative Assistant Andrea Beckham ARTISTIC STAFF Artistic Director, Yacov Sharir Associate Artistic Director, Kate Fisher CompanyTeachers: Ricardo Garcia, ballet Kate Fisher, modern Yacov Sharir, modern Sharon Vasquez, modern Lighting Designer, Amarante Lucero Graphic Artist Michael Carroccio DANCERS Vivien Addison Gaye Greever Andrea Beckham EricJ. Herrera Jose Luis Bustamente Marta Matthews Michael Carroccio Leticia Rodriguez Maurice Dancer Charles Santos Kate Fisher Yacov Sharir Beth Gore Jennifer Denham. apprentice 1-The ShatlrDance Companygratefully acknowledges the support ofthe National Endowment for the Arts, the Texas Commission on the Arts, and the City of Austin