6A - Wednesday, February 1, 2012
The Michigan Daily - michigandaily.com
6A - Wednesday, February 1, 2012 The Michigan Daily - michigandailycom
MT&D to shine in
ower Center to Frank Zappa.
Another piece, by choreogra-
st light-inspired pher Robin Wilson, draws upon
the different elements of light
ice performance and how light affects the body.
The routine is divided into three
By LAURA KAYE sections - "Where's the Light,"
DailyArts Writer "Walking the Light" and "Cel-
ebratingthe Light" - and asks the
en Thomas Edison created audience to consider light as an
ghtbulb and changed our essential part of the human spirit.
yforever,heprobablywasn't The dance "Forest through
ng about the Trees" is choreographed
he inven- by MT&D Prof. Peter Sparling,
effect on d11CelUCnt and explores identity as shown
rs could 2012 through movement signa-
e the tures. Each dancer has her own
mnce of a Tomorrow sequence of movement represent-
mance. at 7'30 p.m., ing a type of signature she writes
ce the Friday and with her body.
ning. of Saturday at "I use those students as Ger-
hool year, 8p.m. and trude Stein uses words and
rs from Sunday at language," Sparling said. "I'm
chool of 2 p.m. creating different layers of text,
, Theatre Power Center movement and music to build a
nce have From $10 cumulative image of a communi-
learning, ty of people attempting to define
cing- and who they are."
rsing pieces about light, Gertrude Stein's text, "The
will be presented starting Making of Americans," is read
row night. "Dancelucent" is aloud throughout the piece. A
w composed of four dances, scrim is also set up downstage,
with a different choreogra- projecting different images - a
painting by George Braque, a
ireographer Bill DeYoung's friend of Stein's, appears several
will open the show. His times during the dance.
is an homage to the age of Sparling noted that the perfor-
'roll, in which the danc- mance is about the collaboration
press the turbulence of the among the images on the video
Os and early '70s through screen, the music, the text and the
iodies. He has chosen music dancers themselves.
various recordings, includ- "I'm looking at what Stein and
lections from icons such as the cubists were doing in abstrac-
eppelin, Jim Morrison and tion, and kind of doing an homage
to that world and bringing it to the
21st century with digital technol-
ogy," he said.
The final work of the show is
by guest choreographer Lucinda
Childs. The dance is set to the
music of the composer Philip
Glass. Sparling described this
piece as Minimalist and stark,
showing animage of lateral move-
ment as dancers flow across the
stage, exiting and entering in a
series of crossings.
"The reason we called it
'Dancelucent' was (due to) the
idea of light that runs through the
entire program - for my work it's
the light of video projection that
is cast on theddancers, for (DeY-
oung's) work, I think it's more
the light of feeling, the light that
grows dark and then glows like
red in a group of young people,"
Sparling said. "(Wilson's work)
is very much spiritual light of a
community. And then Lucinda
Childs's work is more the light of
pure physics, a kind of minimalist
palette of very pure abstraction, a
conceptual abstraction of light."
Sparling spoke of his final
wishes for the audience - clearly
reflecting the show's uplifting
theme of light - for when the
show has finished and the lights
have come on once again.
"I want them to go away feeling
exhilarated, feeling renewed with
the potential of humans to create
beautiful pictures in space," Spar-
ling said. "I want them to leave
exhilarated and I want them to
leave wanting to come back next
... And then I killed the terrorists, and everyone lived happily ever after
By PROMA KHOSLA
The trouble with attaching
"Heroes" creator F Tim Kring
to any television project is that
there is no way
to predict its *
His newest cre- Touch
proves what we Pilot
already knew: Returning
Kring can make Mondays at9 p.m.
a decent pilot. starting March 19
he has learned FOX
from the sad
decline of "Heroes" and can keep.
it together this time around.
In what may be his signature
style, Kring's new show cobbles
together successful elements of
previous media: cosmically signif-
icant numbers ("Lost"), a preco-
cious child ("Once Upon A Time"),
star-crossed strangers ("Babel")
and the inexhaustible questions of
destiny and fate. There's also the
novelty of watching Jack Bauer
(Kiefer Sutherland, "24") punch
the Man In Black (Titus Welliver,
The maincharacters in"Touch"
are Martin Bohm (Sutherland)
and his 11-year-old son, Jake
(newcomer David Mazouz). Mar-
tin's wife was a stock broker who
Check out the Arts blog after your favorite show to read what
Daily Arts thinks about the episode, minute-by-minute.
d in the North Tower of lets himself get upset that his son
orld Trade Center, and he's chooses tinkering with misplaced
ying to piece together a life cellphones over human inter-
it her. Jake is what the pilot action. When those cellphones
"9/H baby," a child who lost ring simultaneously with a call
nt in the attack but never from the same number, Mar-
new her. Jake is also on the tin becomes aware of his son's
spectrum, and as a result, remarkable insight into the very
es to be touched - even to fabric of humanity. He embraces
gged by his father - and it and seeks to help his son make
spoken a word out loud in sense of the endless sequences of
,. numbers he writes down.
Meanwhile, Jake is surprising-
ly passive for someone who takes
>utherland the responsibility of an entire
7 planet's well-being upon himself.
l phones and However, Mazouz's performance
provides insight into the nature
errorists of autism and is a necessary exer-
cise in patience for the audience.
Inds familiar. When he finally hugs his father
at the end of the pilot, it's vaguely
heartwarming but more power-
fully trite. But when he pullsaback,
only time Jake's voice swiping his dad's cellphone for
rd is during opening and Mysterious Math Magic, we're
monologues, in which he interested again.
s that he can see patterns There are far too many char-
tios in nature that others acters in the pilot to delve into.
. He cites an ancient Chi- Of note is Clea Hopkins (Gugu
roverb that claims threads Mbatha-Raw, "Undercovers"), a
ct people to everyone their social service worker who quickly
will touch - his job is to oversteps her bounds by propos-
hose connections happen. ing that Jake be taken to a chil-
strained relationship dren's-institute and Martin spend
en Martin and Jake is the their two weeks of separation
st victory of the pilot. Mar- getting his life together. She too
ver stops trying, and never witnesses Jake's uncanny abilities
when he arranges popcorn ker-
nels to make her mother's phone
number, and she joins with Mar-
tin to figure out the purpose of
this boy's gift.
The rest of the pilot includes
absurd scenarios that it's a little
too soon for, like aspiring singer
Kayla Graham's (Karen David,
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and wkly cleaning. For more the phone.
tact meyerd33gmaitcom The storytelling needs to be
refined, but the story itself could
holdviewers' interest, so long as
we aren't just handed numbers
P WA NTED matter. In shedding some light on
Byzantine configuration of the
;OOGLE Guide! Student temp uies n n ope ahr
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TENDING* $300/DAY PO-
RELEASE DATE- Wednesday, February 1,2012
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Edited by Rich Norris and Joyce Nichols Lewis
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