Dance Assessment: Juilliard Presents Pina Bausch’s ‘Wind von West’

December 17th, 2013

Ruby Washington/The New York Instances

Wind von West Kristina Bentz and Shan Gao in this perform by Pina Bausch at the Peter Jay Sharp Theater.

When the German choreographer Pina Bausch died in 2009, a wave of melancholy fell in excess of the New York dance globe: even although her firm is primarily based in Wuppertal, it was a fixture at the Brooklyn Academy of Audio. Nevertheless her ties to the metropolis ran even further, considering that she experienced also examined at the Juilliard University.

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Now her alma mater has presented its fourth-12 months students and dancers from the Folkwang College of the Arts in Essen, in a seldom noticed Bausch perform from 1975, “Wind von West” (“Wind From the West”), as element of “New Dances In addition: Version 2013,” a software that closed on Sunday at the Peter Jay Sharp Theater.

The reconstruction, staged by the previous Bausch dancers Josephine Ann Endicott, John Giffin and Mari DiLena, is a fragile function saturated with spirits unveiled by way of a quietly lush, consistent stream of curving styles. In contrast to Bausch’s afterwards vignette-hefty pieces of dance-theater, “Wind” is foremost a dance.

The opening tableau of the perform displays dancers, some much more ghostly than other folks, in a haze of diffused lighting, scrims and magic formula doorways. (The shadowy set is by Rolf Borzik.) Numerous females in floor-skimming attire gravely surrounded an empty mattress, even though an additional — on Wednesday, Kristina Bentz — sat on the ground with her legs stretched in front of her. A reclining Taylor Drury cradled Tsai-Wei Tien on a corner of the stage. After Stravinsky’s Cantata began, the females collected around the mattress and raised their arms — palms dealing with out, thumbs prolonged — until finally their palms satisfied overhead. Ms. Bentz stood, snaked an arm by means of the air and approached two women on the floor: They embraced.

Nothing at all is clear in this hypnotic work, yet Ms. Bentz seemed to be revisiting memories: With a continual wander and arms that stretched like sighs, she let down her hair — a Bausch trademark — and brushed up against other individuals who could be versions of herself as effectively as her mom or lover.

Shan Gao, wearing briefs, possessed a regal, sculptural purity that mirrored Ms. Bentz’s very own. In this painterly dance, sharp details of pointed elbows and contractions in the torso contrasted with rushes of movement. Live songs performed by Juilliard musicians additional yet another poetic layer to this piece, which was both haunting and haunted. We know we’re in the exact same space as Bausch, but we really do not entirely recognize it.

There have been three other operates on the system, but none as remotely eloquent. Takehiro Ueyama’s “Nakamuraya,” inspired by the Kabuki actor Nakamura Kanzaburo XVIII, additional up to 4 dances in one with a lot of times from Paul Taylor’s “Esplanade.” (Mr. Ueyama was in the Taylor firm he’s nevertheless evidently taken by ground slides.) Darrell Grand Moultrie’s “Seeds of Stamina,” like “Nakamuraya,” showcased dancers in extended skirts — is this just a strange coincidence? — as effectively as frantic runs that stopped brief of the front of the phase. Angst is exhausting to observe.

The most cost-free-spirited dancing was in Brian Brooks’s “Torrent,” which explores that choreographer’s adore affair with strains and formation. Users of the cast stretched by themselves across the phase in a long horizontal row prior to peeling off like troopers or Busby Berkeley dancers. In the 2nd area, they broke via the rigid patterns with brief, explosive solos. Sooner or later Mr. Brooks’s ideas petered out, but for a few charming moments he fulfilled the aim of a scholar showcase: He permit every person dance.

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