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Page 8 - The Michigan Daily - Monday, February 9, 1987
Graham dancers create asting images
by Jose-Arturo Martinez
The images stay in your mind.
A chorus of men leaping with
abandon into the air, a beautiful
woman dressed in a style that
suggests a Spanish gypsy, a
haunting image of a woman pour -
ing out her grief for everyone to
see, the Martha Graham Dance
Company was in town this
weekend, and did they dance!
On the program Friday evening
were two Ann Arbor premieres,
"Temptations of the Moon" (1986)
and "Rite of Spring" (1984).
"Temptations," set to Bela Bartok's
1923 Suite for Dance is full of
intricate patterns, almost frenzied
dancing and combined with
costumes by Halston, suggested an
erotic festival in celebration of life
during ancient times.
George White, Jr. as the Velvet
Night and Terese Capucilli as the
Crescent Moon were the central
characters in this dance with the
heavens. Their partnering contained
an element of subdued erotocism as
their dance ebbed and flowed with
the tides of their emotions. This
was easily my favorite work of the
concert.
"Rite of Spring" carried a
different flavor altogether. This
work elicited reactions of fear,
suspense and a heightened sense of
tension that was almost palpable
within the audience. This primitive
Let Them Know
sacrificial ritual meant to appease
the powers that be was set to the
music of Igor Stravinsky.
Christine Dakin as the Chosen
One was most responsible for the
air of tension the dance created. The
audience sympathized most with her
plight as she was chosen by Larry
White as the Shaman, to pay for
the sins of her people and loosen
the grip of the elements on their
land. Her fear wracked contortions
were almost too painful to watch as
she realized the depth of her
predicament.
The Denishawn/Graham solos
served as a history in the the
development of Martha Graham.
The works, which were dedicated to
the memory of long time musical
director Louis Horst, began with
works from the repertoire of Mo-
dern Dance pioneers Ruth St. Denis
and Ted Shawn and concluded with
Graham's own style.
"The Incense," which was first
performed by St. Denis in 1906,
was given new life by Maxine
Sherman. St. Denis, who had
always been fascinated by oriental
dance, used this as inspiration for
the work. The vocabulary of the
dance, though, limited mostly to
movements and gestures using the
arms and the torso, kept the
attention of the audience riveted.
Sherman entered the stage dressed in
a gold sari carrying an incense tray
which she uses to light two
burners. The snaking path of the
smoke is mirrored by the arms of
Sherman as they follow serpentine-
like in the patterns created. The
exotically stylized movements of
Sherman were fascinating to watch
and lent their own sense of beauty
to the dance.
"Serenata Morisca" (1918),
Let Them Know
How You Feel! !
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THURSDAY, FEBRUARY 12
4:10 - 5:30
229 ANGELL HALL
created by Ted Shawn and first
performed in 1918 was first danced
by Martha Graham in 1921. Terese
Capucilli brings this Spanish
gypsy to life in a dance where facial
expressions were as important as
the steps. The contrast in styles
from "The Incense" was stark as
Capucilli jumped and sashayed in
the fashion that seemed reminiscent'
of a flamenco dancer.
"Lamentation" (1930), is the
solo which left me gasping for
breath. The images of the woman
whose sorrow threatened to
overwhelm the audience is classic
Graham. An emotional punch to
the gut which was performed',
superbly by Joyce Herring. The
bizarre tubular piece of material in
the costume and the music of
Zoltan Kodaly combined to grab the
audience and force us to share in her
own torment and pain.
Books-
(Continued from Page 7)
their jobs because of their views,
but they never stopped producing
books. Between the two of them
they produced 55 volumes on
various topics and by the beginning
of the 20th century, their Children's
and Household Tales (a volume of
their best fairy tales) was second
only to the Bible as a best-seller in
Germany, a position it has
continuied to hold.
WhileThe Complete Fairy Tales
of the Brothers Grimm may carry
on the best-sellerstradition, it is
strictly for occasional perusal.
These tales are undoubtedly more
colorful than their American
counterparts, but don't read the
collection front-to-back, unless you
specialize in early19th century
Germanechildren's literature.
Sometimes the tales become
repetitive - especially the ten or
so stories about Stupid Hans. How
could anyone be that dumb.
-Rebecca Cox
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