offoffoff dance



Site links
  • Contact us

    Get our newsletter:
    Search the site:

    Dance section
  • Dance main page
  • Dance archive

    Current dance

  • 277DanceProject: This is Heaven to Me
  • A.W.A.R.D. Stars
  • Aaron McGloin: Lamina
  • Aaron McGloin: Native
  • Akiko Furukawa: Room 702
  • Alley of the Dolls [this is not a Sequel]
  • Anchors and Ties
  • Antonio Ramos: Almodovar Dystopia
  • Aretha Aoki and Benjamin Kimitch
  • BAADass Women Festival
  • Banana Peel Dance: Dinner Party
  • The Barnard Project 2010
  • Batsheva: Hora
  • Belinda McGuire
  • Bennyroyce Royon: Chronos Project
  • Bloom: City
  • Body Collider: Bare Knuckle High Fashion
  • Brian Brooks
  • Brian Brooks Moving Company 2012
  • Bryn Cohn: Skin
  • Burr Johnson
  • Chavasse Dance and Performance
  • Chris Schlichting: Stripetease
  • ChristinaNoel and the Creature
  • Chunky Move: Faker
  • Chunky Move: Mortal Engine
  • Cool NY 2011
  • Cool NY 2012
  • Current Sessions: 03Savings
  • The Current Sessions: Volume 1
  • Da-on Dance: Thirst
  • Dance Apocalypse: Solos
  • Dance Gallery 2013
  • Dance Gallery 2015
  • Dance Gallery Festival
  • Dance Gallery Festival 2012
  • Dance Now 2015
  • Dance Sampler 2
  • DanceNow 2011
  • DanceNow 2011 Two
  • Dancenow 2012
  • DanceNow 2013
  • DanceNow 2014
  • DanceNow 2016
  • DanceNow 2017
  • DanceNow 2018
  • Daniel Gwirtzman: The Oracle
  • DaOn Dance: Root
  • David Appel and Daniela Hoff: Take Root
  • The Dinner Party: A Whodunnit Cabaret
  • Donnell Oakley: Sure
  • DorothyAnnieMaria
  • Doug Varone and Dancers 2017
  • Dumbo Dance 2010
  • Dumbo Dance 2011
  • Dumbo Dance Festival 2012
  • Faye Driscoll: Thank You for Coming
  • Faye Driscoll: There is so much mad in me
  • Faye Driscoll: You r Me
  • Festival Twenty Ten
  • Festival Twenty Ten Too
  • FLICfest 2012
  • FLICfest 2013
  • Fresh Tracks 2010
  • Fresh Tracks 2011
  • Gallim: Sit, Kneel, Stand
  • Gerald Casel: Fluster and Plot
  • Gotham Dance Sampler 1
  • Green Space:
    Take Root

  • Gwen Gussman: Nourishment
  • HATCHed WAX: two to view
  • Heather Olson: Shy Showoff
  • Hilary Easton: The Constructors
  • Hurricane Party
  • Hyperbolic!
  • Jeanine Durning: To Being
  • Jenni Hong:
  • Jody Oberfelder: The Soldier's Tale
  • John Jasperse: Canyon
  • Jonah Bokaer: Rules of the Game
  • Jonathan Pratt
  • Julian Barnett: Sound Memory
  • Julie Bour: Why Now?
  • Katie Workum: Black Lakes
  • Katie Workum: Fruitlands
  • Katie Workum: Herkimer Diamonds
  • Katy Orthwein and Aaron McGloin
  • Keigwin and Wolcott: Places Please
  • Keigwin+Company 2012
  • kerPlunk and Friends
  • Kidd Pivot: Dark Matters
  • Kota Yamazaki: Rays of Space
  • Kyle Abraham: Heartbreaks and Homies
  • Larry Keigwin: Exit
  • Lincoln Center Kenan Fellows
  • lmno3:BANGS
  • Lucy Guerin: Structure and Sadness
  • Lucy Guerin: Untrained
  • Magda and Chelsea: The Vulgar Early Works
  • Mari Meade and Companies
  • Mari Meade and Gierre Godley
  • Mari Meade and Teresa Fellion
  • Mari Meade: Not My Home
  • Mark Dendy: Labyrinth
  • Mark Dendy: NYny Astor Place
  • martha clarke: angel reapers
  • Martha Graham Company 2016
  • The Median Movement: JACK Rally
  • The Median Movement: X
  • Mei Yamanaka Works: Sunflower
  • Merce Cunningham
  • Miguel Gutierrez: And lose the name of action
  • Mina Nishimura
  • MokdessiWagner and Kawamura
  • Nathan Trice: Recognizing Women Project
  • Neta Dance: 2280 Pints!
  • newsteps 2013
  • newsteps 2014
  • Newsteps 2017
  • Newsteps 2018
  • Nicole Wolcott: 100 Beginnings
  • Nicole Wolcott: Paper Pieces
  • NLD: The Whiz
  • Only Human: Christine Bonansea
  • Ori Flomin: First Move
  • Oui Danse: French Amour
  • Patricia Noworol Dance: Circuits
  • Perforations Festival
  • Performance Mix 2013
  • Performance Mix 2017
  • Performance Mix Festival 2010
  • Performance Mix Festival 2018
  • Petronio 2012
  • Petronio: Underland
  • Pina Bausch: Vollmond
  • ponydance: Anybody Waitin?
  • The Principles of Uncertainty
  • Project RUIN
  • Purchase Company 2013
  • Ralph Lemon: How Can You Stay in the House All Day and Not Go Anywhere?
  • Raw Directions 2012
  • Raw Directions 2013
  • Relative Soul: Two Takes
  • Richard Move: Martha 1963
  • RoseAnne Spradlin: beginning of something
  • Sam Kim: Sister to a Fiend
  • Sarah Skaggs Dance: The New Ecstatic
  • Sarah Skaggs: Roving 911 Memorial
  • Shannon Gillen & Guests: Clap for the Wolfman
  • Shannon Gillen: A Colored Image of the Sun
  • Shen Wei Dance Arts
  • small apple co.
  • Splice: Japan
  • Stephen Petronio 2014
  • Stephen Petronio 2015
  • Stephen Petronio 2016
  • Stephen Petronio: LLD 430
  • Strange Love: Episode 5
  • Take Dance
  • Take Root: Mei Yamanaka and Angel Chinn
  • Tere OConnor: Bleed
  • TheCraft
  • This One Goes Out To You
  • Tiffany Mills Company
  • Tiffany Mills: After the Feast
  • Tiffany Mills: The Blue Room
  • Triskelion Collaborations
  • Two at Abrons
  • Two at Dixon Place
  • Tykulsker Cora
  • tykulskerdean
  • Valerie Green/Dance Entropy
  • Valerie Green: Impermanent Landscape
  • Walter Dundervill: Candy Mountain
  • Wave Rising 2011
  • William Forsythe at BAM
  • William Forsythe: Decreation
  • Women in Motion 2012
  • Wrought Iron Fog
  • Yoshiko Chuma and Rebecca Lazier
  • Zvidance: Dabke+Coupling
  • ZviDance: Zoom


    Complete archive, 1999-present

    2017-2018 reviews:


      Wally Cardona and Derry Swan in Ecsteriority
      Photo by Kimberly Bartosik
      Wally Cardona and Derry Swan
    Odd Couples One and Two

    Kimberly Bartosik's Ecsteriority1&2


    In Kimberly Bartosik's Ecsteriority1&2, the space of St. Mark's Church is transformed from one of religion and beauty to a vast ruin, at once prehistoric and futuristic. Bone-white plaster dogs are lit up along the steps, and a pile of dog heads, looking strangely at first like human joints, sits in the corner. Audience members are ushered into a triangular arrangement of seats with a black wall at the top, creating a vortex effect. The music begins before the show, and the first duo of dancers (Elke Rindfleisch and Marc Mann) pace, separately, behind the audience, as if they're already exhausted, coming shell-shocked out of a long ordeal with their bodies on automatic pilot, ready to keep moving until the last moment.

    Choreography by: Kimberly Bartosik.
    Dancers: Wally Cardona, Marc Mann, Elke Rindfleisch, Derry Swan.
    Music by: Luke C. Fasano.
    Set design by: Kimberly Bartosik and Roderick Murray.
    Lighting design by: Roderick Murray.
    Danspace St. Mark's Church
    November 7-9, 2008

    As Ecsteriority1 begins, the dancers inhabit a space that is clearly difficult for them. At first, they are bound together, not in an erotic clinch, but as if they are burdened by each other's corporeality and sheer weight. When they pull apart and move to separate areas of the stage, Mann's body seems seized by an external force, forcing him to the ground and into spasmodic death throes and other paroxysms of movement. Yet, when he stands, some of these paroxysms seem to afford him a pure power. Rindfleisch's more deliberate movements ironically seem similarly out of her control, as if she's possessed by a force that keeps her methodically struggling to transform her situation long after her wrought, human body has expended its resources. When the dancers confront the wall, it's unclear whether they are trying to break through it, or merge with it, or engage it in a troubled act of lovemaking.

    In Ecsteriority2, the second duo of dancers (Derry Swan and Wally Cardona) is more estranged from each other than the first, and they engage even more with the decaying space of the nighttime dog-graveyard. Cardona's movements are taut, as if he's suspended by wires, or as if he is a wire. Each dancer has changing relationships to their soundtrack and environment. At one moment, Swan rubs her foot against the ground as if she's creating a cicada-like sound. At another, Cardona lies beside a dog that Swan has wrapped in fur, and whispers what seems to be some terrible prayer. Is he dying with the dog, trying to resuscitate it, or merely participating in a ritual for its loss?

    Although each piece in Ecsteriority1&2 features two dancers, one male and one female, the dancers don't have relationships with each other's bodies that are at all predictable, and the story of each piece isn't what you might assume from viewing the couple. Similarly, each dancer's unique movements are minor in the musical sense, meaning that they never hit a predictable note, and the body never moves in the way that you'd expect from watching it. Yet there is enormous strength and intentionality in the distinctive movements of all four dancers. Both pieces address an unsettling edge where the mechanical meets the organic, and both allow the viewer to see the human body in a new light.

    The pieces are not interlinked in any obvious way, but there are profound and subtle connections between them. Rather than having an intermission between them, ushers ask the audience to move out of their chairs and onto the large carpeted steps behind them. In both pieces, the dancers confront the audience by moving close to us. Marc Mann, surveying the boundaries of his space, stands very near people who are sitting in the front row. Elke Rindfleisch takes off her shirt and gives it to a man to hold, as if for safekeeping. As Ecsteriority2 begins, Wally Cardona stands very near the audience and removes a layer of black clothing, revealing another underneath and carefully placing his discarded garments in small mounds, like burial objects. The arrangement of the audience in both parts means that when we watch the dancers, we also see each other.

    Both parts of Ecsteriority1&2 whittle the body down to its essence, and beyond, raising challenging questions about physicality, decay, and internal and external space. This is exciting work, careful and intentional without being overly constructed. The eerie sets and haunting, unpredictable original score create a transporting atmosphere, but it is the intense work of the four dancers that brings Bartosik's innovative choreography into sharp relief. Each dancer embodies a unique brand of strength and precision, yet is tormented into a loss of control, into exploring the edges of space and the problems of physical limitation.

    NOVEMBER 12, 2008

    Post a comment on "Ecsteriority"