Realigning our views of the human form seems to be the mission, wrapped up in neo-burlesque packaging. The six-member multinational cast takes us in directions that are by turns fanciful and non sequitur, as they drift, skulk and cavort with gusto through a spare white landscape furnished with an assortment of detritus that might have wandered in from other stories - boxing gloves, a ukulele, a single skate dangled over a naked mannequin, a porcelain tub, a refrigerator. They're all props in a strange quotidian drama.
Monday, February 7, 2011
'Dances for Non/Fictional Bodies' review
Navigate through the many layers of esoteric images collaged together in Jess Curtis/Gravity's latest work, 'Dances for Non/Fictional Bodies,' which had its world premiere Thursday night in the Forum at the Yerba Buena Center for the Arts, and you may come out the other side feeling a little lost.
Realigning our views of the human form seems to be the mission, wrapped up in neo-burlesque packaging. The six-member multinational cast takes us in directions that are by turns fanciful and non sequitur, as they drift, skulk and cavort with gusto through a spare white landscape furnished with an assortment of detritus that might have wandered in from other stories - boxing gloves, a ukulele, a single skate dangled over a naked mannequin, a porcelain tub, a refrigerator. They're all props in a strange quotidian drama.
Realigning our views of the human form seems to be the mission, wrapped up in neo-burlesque packaging. The six-member multinational cast takes us in directions that are by turns fanciful and non sequitur, as they drift, skulk and cavort with gusto through a spare white landscape furnished with an assortment of detritus that might have wandered in from other stories - boxing gloves, a ukulele, a single skate dangled over a naked mannequin, a porcelain tub, a refrigerator. They're all props in a strange quotidian drama.
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