Dance Evaluation: Cori Olinghouse at Danspace Task

December 14th, 2013

Brian Harkin for The New York Times

Cori Olinghouse Ms. Olinghouse, remaining, channeling Buster Keaton, and Michelle Dorrance in “Ghost lines” at Danspace Task.

What happens when amusement gets combined up with experimentation? The choreographer and dancer Cori Olinghouse is haunted by the link among vaudeville and the Dada and Surrealism actions — so much so that she designed a couple of ghosts.

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In her most recent function, carried out at Danspace Project on Thursday, Ms. Olinghouse explores the romantic relationship in between genres with “Ghost line,” a sixteen-millimeter black-and-white film, and “Ghost traces,” a dance. In the movie, a collaboration with the filmmaker Shona Masarin, a very clear inspiration is “Ballet M?chanique,” the beautiful Dadaist submit-Cubist artwork movie by L?ger. In “Ghost line,” the camera closes in on Ms. Olinghouse’s encounter and torso and then pulls back, swallowing the graphic with it.

The timing and designs of bodies and shapes — growing, shrinking and receding — lend “Ghost line” a kaleidoscopic sensation. The waifish Ms. Olinghouse bounces from one character to the following: she’s a clown, Buster Keaton, a statue. She draws strains in the air with her fingers, which manifest into swirling strains on display sooner or later her image floats, like an eerie ghost, in front of a series of vibrating summary lines and designs.

In the stay overall performance, a collection of solos done simultaneously, Ms. Olinghouse is joined by Eva Schmidt, whose shadowy figure also appeared in the movie. Her whole body, such as her face, is protected in black, rendering her two-dimensional her puff-sleeved best by Andrew Jordan is a sculptural ponder, as are all his costumes in this show.

Elizabeth Eager, with vaudevillian exaggeration, performs a soft-shoe regimen with a feather contact, while Michelle Dorrance pushes backward in silky skater strokes and, afterwards, calls on all of her gangly magnificence in a reconstruction of Hal Le Roy’s eccentric faucet solo from “The High College Hoofer.” She reappears in head-to-toe black as a shadow dancer, knotting and untangling her toes in huge clown footwear.

But Mina Nishimura is the most recognized ghost of all. Donning a patterned clown match as if it is haute couture, she wilts with this sort of a delicate command of pathos and manage that her human body instantaneously becomes a container of a lot of pasts.

But in “Ghost lines,” the place strangeness and slapstick struggle to coexist, it steadily gets to be very clear that outside of more imaginative lighting — the blackouts, for a single, are overdone — anything is lacking. Ms. Olinghouse has the tools she demands to make her very own background.

Cori Olinghouse carries on via Saturday at Danspace Task at St. Mark’s Church, 131 East tenth Street, East Village 866-811-4111,

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