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The emotional dynamics of Les Doigts de la Main's “Sequence 8”

Par Jaime Robles, 07 février 2015
Chargement en cours, veuillez patienter...
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“There continues to be something refreshingly honest about these self-descriptions. ”
Critique faite à UC Berkeley, Zellerbach Hall, Berkeley, le 4 février 2015
Programme
Sequence 8 (The 7 Fingers (Les 7 Doigts de la Main))
Artistes
The 7 Fingers (Les 7 Doigts de la Main)
Voir plus de critiques Danse
The 7 Fingers: Where dance and circus mix
Philippa Newis, 1st April
Samuel Tétreault co-founder of The 7 Fingers brings the company back to Sadlers Wells with Triptyque - a trio of works exploring the theme of gravity. Drawing on the steely nerves of nine first-class performers, each piece harnesses a hybrid of circus disciplines and contemporary dance technique.
****1
Sadler's Samples of dance
Katja Vaghi, 29th January
The Sadler’s Wells Sampled evening had the whole building buzzing and dancing with a show of bite size dance appetisers for all tastes and also includes several extra activities.
****1
Eifman Ballet in a strangely psychological Pygmalion Effect
Jaime Robles, 31st May
Eifman has said he wants move dance back into theater and to use movement to explore the psychological. Both of these the company accomplishes.
***11
Xenos: The generous sorrow of Akram Khan
Jaime Robles, 2nd March
He turns and turns, elliptically and with the speed of a skater on ice. Sheer muscle defies gravity and the friction of feet on terra firma.
*****
No lonely hearts in MMDG’s Pepperland
Jaime Robles, 28th September
What makes this piece entirely Mark Morris is, even more than the dancing, the music. 
*****
Wang Ramirez take Borderline to California
Jaime Robles, 24th February
A cube hangs suspended at an angle and Ramirez, harnessed to a line above the stage, floats above it, fulfilling the promise of dance and the human desire to escape gravity – to fly in angelic weightlessness. 
*****
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The 7 Fingers (Les 7 Doigts de la Main)
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Jaime Robles
Jaime Robles
Jaime Robles has previously written in the San Francisco Bay Area, including for the San Francisco Classical Voice. Also a poet, she has written song lyrics and librettos for several one-act operas, including Inferno (music by Peter Josheff), staged in 2009 by San Francisco Cabaret Opera, and Vladimir in Butterfly Country (music by Anne Callaway), staged in 2012.