From the very beginning of the Giveney Company’s “Up Close” program, the troupe’s psychic powers are evident at New York LiveArts. Its powerful and versatile dancer, an artist who seems to be able to do anything physically. Since last year, the company has closed the gap and made the same thing more contemporary in the United States since it reformed itself by shifting to the presentation of commissioned works by various choreographers rather than founder and artistic director Gina Gibney. It seems that there are many duplicates. dance.
Gap: Stable employment and resources of dancers and choreographers within the corporate structure. (Work!) More the same: Choreography that dancer talent is not always justice.
Of the three new invoices that opened on Tuesday this season, the most exciting contributions are the group’s first resident choreographer and impressive dancer, Rena Butler, and New York-based founder. It’s from Yin Yue. YY Dance Company.. Her last and longest work, Gustavo Ramírez Sansano’s “To the End of Love,” shows the overly general phenomenon of online dating, where great dancers devote themselves to lesser choreography.
Butler is an ambitious and thoughtfully constructed “Reconstruction / Construction / Construction (Part I)”, inspired by Plato’s “Allegory of the Cave”, where the exterior structure captures the dynamics of the interior landscape and society. Find out if it is shaped like this. The passages in the recorded text are increasingly distorted as the work progresses, bookending and punctuating the electronic scores that increase the tension of Darryl J. Hoffman. Six dancers, similar to robotic yet elastic wind-up dolls, manipulate the walls of Kamei Tsubasa’s set. These lightweight panels start in the shape of a house, but are disassembled to create other types of boundaries and enclosures.
Jesse Obremsky is an early solo, especially eerie with his puppet-like physicality, the eerie dents that have his eyes and limbs. As they sparring and colluding with each other to reorganize the world, dancers regularly spurt out with garbled, frustrated speeches. Here, the movement is a more efficient and expressive word, a powerful Jie-Hung Connie Shiau (safe shelter imprisoned) trapped in the walls of a reconstructed house until it reaches a dramatic peak. Find) and eventually break through them.
The shadow “measurable being” played by Obremsky and Jake Tribas on Tuesday begins in a calm territory, a seemingly calm duet. Still, it takes a sharp and satisfying turn when part of the lighting grid falls, tears through the space, throws dancers into a harsher glow, and reveals the more sinister aspects of their relationship. (Asami Morita designed lighting that reflects or guides the dancer’s energy.) A fluid and complex partner carries the duo through stages of tenderness and distance. Yin can find detailed and amazing leverage points when volleying between 1 and 2, during some kind of symbiosis and separation, like a shin snuggling up to the wrinkles of the waist.
“A Measurable Existence” isn’t exactly breaking new ground, but it’s far less complex than Ramírez’s “To the End of Love,” a 28-minute critique of online dating and its alienation effects. Talking about. The floor is covered with a quip and confession of the date profile, such as “naked dinner” and “I have two children”. Eight dancers roam these pages, lift them as they roam the stage, and sometimes stop to share frivolous or longing dances before being distracted by other love interests. (One cast member went missing on Tuesday, which could help explain why some parts felt unfinished.) Ramirez sent a similar message. It will be delivered over and over again. It may be intentional, but it’s a bit too similar to a swipe.
Giveney Company
Until Saturday at New York LiveArts gibneydance.org..