Thursday, March 12, 1987
The Michigan Daily
Collage of choregraphy
in 'Gallery Dances'
Py Jose-Arturo Martinez
When he was auditioning dancers
in September, Murray Louis was
looking for people with differing
and opposing qualities that he could
employ in his dance-a conver -
sation carried on in movement
about the most dynamic of matters.
"Porcelain Dialogues Opus 78,"
a work Louis is recreating from his
1274 work, is being reinterpreted
with the dancers at the Dance
School. "I've been doing this for
many years," said Louis "in fact,
students over at U.C.L.A. will be
doing their own version of this
Mr. Louis, who initially danced
as a soloist with the Alwin
Nikolais Dance Theatre, later be -
me Nikolais' assistant. Together
with Nikolais, he has helped to
create the theories which now
comprise the Nikolais/Louis tech -
Speaking from his studio in
New York, Louis related the basis
of his dance as a conversation. He
explained it as the interaction of six
dynamic forces, carried on in
movement. "What I hope to happen
is that the audience will find
themselves caught up in this
donversation on an abstract level,"
said Louis. "The audience will
dhderstand what these figures talk
about simply through observing
their movements." In the United
states, Louis reworks many of his
dances with university level
students in order to help them on to
the next level of performing. In
Europe he reworks his dances on
professional companies because
they do not pose any competition
to his own professional company
based in New York. This makes
Louis' choreography some of the
most widely perfomed contem -
Louis, himself, will not be in
Ann Arbor to view his work
because of the upcoming season for
his own company at the Joyce
Theater in New York. He has been
in town three times, however, to
work on the dance. The first time
was during the auditions in
September, the next during
Christmas and the most recent time
was this past Sunday.
"I was very pleased with the
progress the work has made since
Christmas," said Louis.
"He came in last Sunday and
worked with us for about four
hours," said dance student, Thomas
Members of the audience will
also see some of the latest efforts
by University dance faculty
members Gay Delanghe, Jessica
Fogel and Bill DeYoung.
'People in the Sun', new work
created by Jessica Fogel, is a tribute
to the works of American artist
Edward Hopper. Fogel is contin -
uing her work in multi-media, and
will incorporate slide projections of
Hopper paintings as well as music
created by composer and synthesist
David Borden. New York guest
designer John Schak, whose last
work in Ann Arbor was in the 1985
Power Center concert of the dance,
'Pulcinella', created the costumes
for this concert.
Gay Delanghe's contribution to
the evening is a work entitled 'Red,
Red, Red'. "The dance features
scenery in the style of contem -
porary artists Roy Lichenstein and
Claus Oldenburg," said Delanghe,
"and draws on the work of Andy
Warhol in an attempt to recall some
of the glamorous and horrifying
events of the sixties."
Dance Department Chairman and
composer David Gregory created the
score for Delanghe's work.
'Thief of Souls', new work
created by Bill DeYoung, is based
on the life and paintings of
Romaine Brooks. The dance
concerns a 'lover's triangle'
between Italian poet Gabriele
d'Annunzio, Russian mime-
ballerina Ida Rubinstein, and
Romaine Brooks. The set and cos -
tumes were designed by John Schak
and the muisc is by Ingram
The U-M dance Dept. and the
University Dancers will be
presenting 'A Gallery of Dances'
this weekend at the Power Center.
Performances are March 12 through
15 at the Power Center for the
Performing Arts, 121 Fletcher in
Ann Arbor. Tickets are $5.00 to
$8.00 for reserved seating and $3.00
for student tickets at the Michigan
League Ticket Office. Their hours
are Monday through Friday 10 -
- .,_ >
(Left to right) Linda Spriggs, Gregory Patterson, and Marsha Pabalis will appear in Bill DeYoung's "Thief of
Souls," one of many works appearing in 'A Gallery of Dances.'
5pm, or call 764-0450. Tickets will
also be available at the Power
Center Box Office starting one hour
before show time.
Fridays in The Daily
Jy Ial IRo, enIheg,,
Th'e Animation Celebration is a
group of "leftovers and late entries"
from last November's19th Inter -
national Tournee of Animation.
The leftovers are those films which
did not make the cut in last fall's
Tournee, while the late entries are
their recent acquisitions. Fortun -
ately, there are enough late entries
to keep our attention between the
boring leftovers and make this a
film worth paying $2.50 for on a
Tuesday or weekend midnight.
Claymation stole the show. The
sixth film, although only 30
seconds long, clearly displayed the
best animation. It took a dinosaur
made of clay-the only way to
convincingly portray the reptile
-and perfectly transposed it to the
mtodern city. Unlike the abrupt
changes seen in Gumby or Davey
and Goliath, the movement in this
.film was fluent, making the reptile
Most of the cartoons were
.average, which is more than enough
.or television, but unsatisfactory for
the big screen. Sunbeam, the first
of the leftovers, looked like Betty
:Boop set to a 30's song. This lack
:ef creativity, combined with lifeless
:6ackgrounds made it look like a
:poor Saturday morning cartoon.
.Fortunately it was only a three-
;minute film (not counting the two
.minutes of credits).
The Canadian-produced A Dog's
yuide to Home Safety was a
funny, low-budget cartoon that
;doubled as a home safety educa -
tional film. A commonplace situa -
l ion can be made very humorous
vhen it is altered by adding the
absurd. In this film, the unusual
was the dog, who had to serve as
head of household since the
owners/parents were like those on
Family Ties (i.e. without intel -
- a - - *.. ---'
The Canadians entered another
educational animation, Get a Job.
Unfortunately, the audience was left
sitting through failed jokes as the
proper behavior for an interview
was shoved down its throat. The
producers forgot that it is not funny
to sit and watch someone blow an
interview because of mere stupidity.
It would have worked better had
they added humor by presenting a
ridiculous job, or an inventive lead
The Russians seem to have a
minimalist view of animation. Two
of their cartoons were about 15
seconds long, used below-average
drawings with no dialogue, and
made one point. The remaining
Russian film studied a mental
institution. With figures similar to
Heavy Metal, the Russians painted
an intriguing picture of a neglected
Worth special mention, mainly
because it showed itself far above
the level of current Saturday
morning programming, was a
parody of the imperfections in old
films. In addition to the villian in
the cartoon, the hero is forced to
See ANIMATION Page 7
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