Friday March 24, 2006 SGN.org |
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Volume 34 Issue 12 |
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Saturday, Nov 21, 2009
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GRUPO CORPO: Passionate virtuosity |
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| GRUPO CORPO: Passionate virtuosity | ||
| by E. Joyce Glasgow
- SGN A&E Writer
Grupo Corpo, the dance company from Rio de Janiero, Brazil, made its second appearance on the dance series at Meany Hall March 2-4, with two dynamic works more impressive and more surprising than the last time. Their last appearance had lots of color, fun, ensemble work, and more the feeling of a festive, quirky, carnivale. This time they wowed me and I was awed by the creative brilliance of the choreography of Rodrigo Pederneiras, the virtuosity of the dancing, and the music chosen, so beautifully and harmoniously at one with the dancing. The first piece "Lecuona" featured some of the most original, sensual, sexy, and stunning dance duets I have ever seen. Graceful and appearing effortless, the female dancers moved in and out of having the limpness of "rag dolls" to a "take charge" exchange with their adept male partners. Ernesto Lecuona, known as the "Cuban Gershwin" (1895 - 1963), composed the songs used to accompany the 12 partner dances. These songs perfectly exuded the feelings and the times of the 1930s and the 1940s. The singers' voices were rich and emotional and sung in Spanish, sounded passionate and sensual. I imagine myself in Cuba, at night, at the beach, balmy, under the stars with the silhouettes of Palm trees, listening to these women singing their siren songs while watching the dancers dance. The second piece "Onquoto" was a more starkly lit ensemble and costume work with music by famed contemporary Brazilian musical icon Caetano Veloso with Jose Miguel Wisnik. The music and movement evoked a myriad of jungle creatures. I imagine sinewy snakes, snails and angular cicadas and grasshoppers. Much of the movement was on the floor. The choreography seemed sophisticated and primal at the same time. Dancers would appear and disappear quickly through vertical, taut, very tall dark curtains, creating a semicircle around the stage. There was a replication of some of the "rag doll" movements from the first piece between a male and female dancer on the floor, which rather than resolving in a graceful duet, this time appearing more violent as the male threw the female's body around in a more abrupt and aggressive manner. I found this quite disturbing and wondered what point the choreographer was trying to make. The question became more compelling because - at the same time - too female dancers interacted with more loving gestures, which made me wonder if the choreographer was commenting on male-female relationships. The movements between the man and woman where so "slamming," that the male dancer broke his pinky finger on the night that I attended. All and all, these duet and ensemble pieces were well performed and I left Meany Hall inspired. Next up at Meany Hall is Les Ballets Africains from the Republic of Guinea, celebrating its 50th anniversary season of music and dance, March 31 & April 1. For more information, contact www.uwworldseries.org or call the box office at 206-543-4880 |
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