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tea, koje je svaki gledalac dobijao da slobodno prelistava, Hemisfere, originalno delo u koreografiji Fenleyeve, sa narućenom žestokom partiturom Davisa ono ne liči, iii pre ne ostavlja utisak da liči, na bilo šta što se dešava na baletskoj sceni. Ono naleće vratolomno, eksplodira u posebnoj vrsti strahovito brze igrę, karakteristićne za Fenleyevu, a opet je njena futuristička dinamika prožeta uznemirujuće delotvornim izvornim rezonancama. Fenleyeva i njene igraćice Silvia Martins i Scottie Mirviss vrlo su upadIjivo high-tech bosi izvođači. Zato iznenađuje što je prvi utisak koji ostavljaju neposredni utisak tribalne eksplozije, ritualnog oslobađanja, u kome svaka od tih žena podseća na žrtvenu devicu iz jednog drugog režiranog paganskog običaja, Posvećeпја proleća Stravinskog. Hemisfere su čvrste, cerebralne po formalnom sklopu, a ipak emocionalne. U programu se naznačava da je Fenleyeva svoj komad nazvala Hemisfere zato što je njena vodeća ideja ukljućivala i intuitivnu i analitičku sferu mozga - možda kao metaforu za dominantne vidove njenog

rada uopšte. Uz to, njeno poznavanje Afrike, gde je njen otac radio kao činovnik američke vlade, i njeno deklarisano interesovanje za igračke tradieije trećeg sveta sugerišu i jedno drugo značenje Hemisfera. U Anthony Davisu, avangardnom kompozitoru čije je interesovanje za afričke i azijske muzičke tradieije spojeno sa klasičnim obrazovanjem i eksperimentima sa novim jazzom, Fenleyeva je pronašla savršenog saradnika. Za ovog slušaoca taj prvi sysret sa Davisovom muzikom bio je otkriće, a njen raspon od neprestane dinamike do nežne mekoće takode je znatno doprineo uspehu večeri. Ako se neko pitao kako ce se intuitivno i analitičko pokazali na sceni, taj je u trenutku shvatio da se to pokazało uspešnim - da je dihotomija između ritualnog oslobadanja i strukturalne preciznosti upravo ono što se osećalo tokom čitavog basa koliko je koraad trajao. Treba napomenuti i to da Clemente u svemu ovome nema nikakvu ulogu. Njegovo učešće, u smislu koncepta, nije šala. Vizuelni element u ovoj predstavi (tema serije Naredni talas jeste saradnja sa kompozitorima i slikarima) sastoji se od četiri različite

serije grafika. One veéinom predstavljaju otkinute delove tela i zadavljene i vezane figure. Zaista lepo. Navodno, inspiracija za Clementeove grafikę bila je opaska o plesačima francuskog pisca Ferdinanda Cślinea - optuženog da je fašista zbog svojih aktivnosti u drugom svetskom ratu. Clemente (koji živi u Rimu, Njujorku i Madrasu) nije Amerikanac i njegov zastrašujući mračni svet nema ničeg zajedničkog sa vrlim novim svetom u ovom vrlom američkom komadu, koji je delo jednog američkog koreografa i jednog američkog kompozitora. Čak i njihovi afrikanizmi i balizmi čista su američka avangarda. Hemisfere se sastoje iz tri delà i, po koncertnoj strukturi, tipične su za Fenleyevu, sa mimim stavom u sredini. Davis za klavirom i njegov ansambl, kojim diriguje Dwight Andews, poćinje uvertirom Esu na raskršču sa uskovitlanim klavirom, a zatim se smiruje. Tri igračice odevene u kostime slične tunikama, koje je kreirao modni dizajner Rei Kawakubo iz njene kolekcije Comme des Garçons, počinju Pre granica na muziek! deo pod nazivom Novi talas

Little Richarda. Ne, početi nije prava reč. Kada se Fenleyeva zaleti preko scene u Lepercq Spaceu, sa frenetično vibrirajućim i savijenim rukama, praćena sa dve druge igračice, svaka na svojoj putanji, utisak koji stvaraju je šokantan. Ritam se nastavlja, vratolomno se pretvara u pokret, povremeno se okupljajući u jednoglasje. Svaki deo ima tematski pokret. Drugi deo prvog odeljka, Telepatija, postavljen je na rauziku Esu varalica. Tri igračice se ukrštaju, na skokove dodaju i okrete, gotovo zagušene zvukom, sve dok se sve najednom ne smiri. Ejdetsko telo na muziku Hod kroz senku počinje u tišini. Plesačice, sada u trikoima, usredsreduju se na lučki most iz idioma Marthe Graham. Sve je vrlo intenzivno i meša se sa neobiènora snolikom teksturom muzike. Doduše, Fenleyeva je više allegro nego adagio koreograf. Tako se Projekcija na muziku Klonetika vraéa na teren na komę se oseća kao kod kuée. Tu uporna repetitivna muzika prati neverovatne igračice, koje jure preko scene kao poludele. □ Anna Kisselgoff, The New York Times, 19. novembar 1983

Molissa Fenley in Brooklyn Molissa Fenley and Dancers, along with Anthony Davis’s music ensemble, Episteme, blew into town Thursday night with a potent, exciting new entry in the Brooklyn Academy of Music’s Next Wave series. Fort the first time, the true sense of experiment in this experimental series made itself felt with an awesome strangeness. Even the décor was different, consisting of packets of small prints by the Italian painter Francesco Clemente and given to each member of the public to examine at will. More to the point, Hemispheres, this world premiere choreographed by Miss Fenley with a commissioned turbulent score by Mr. Davis, does not look, or rather, feel, like anything else on the dance scene.

lt rushes in headlong, blasts forth with Miss Fenley’s brand of highspeed cannonball dancing, yet its dynamics of the future are permeated with a disturbingly effective primal resonance. Miss Fenley and her dencers, Silvia Martins and Scottie Mirviss, are very visibly high-tech barefoot performers. How astonishing the that the sensation of the instant is of a tribal explosion, of ritual release, with each woman recalling the sacrificial virgin of another staged pagan rite, Stravinsky’s Rite of Spring. Hemispheres is tough, cerebral in its formal patterns and yet emotional. A program note in a souvenir book indicates that Miss Fenley called her piece Hemispheres because her governing concept involved the intuitive and the analytical areas of the brain - perhaps as a metaphor for the dominant aspects of her work in general. In addition, her familiarity with Africa, where her father was in government service, and her declared interest in third-world dance traditions, suggested another meaning to Hemispheres. In Mr, Davis, an avant-garde composer whose interest in African and Asian musical traditions is combined

with classical training and experiments with new jazz, Miss Fenley has met her perfect collaborator. For this listener, this first encounter with Mr. Davis’s music was a revelation, its range of insistent drive and tender lushness also largely responsible for the success of the evening. If one wondered how the intuitive and the analytical would come through onstage, one realized suddenly that it did - that the dichotomy sensed between the ritual release and the structural precision of the choreography was exactly what one felt throughout the hourlong piece. Let it be said that Mr. Clemente plays no part in this. His participation, on the conceptual level, is not a joke. The “visual element" in this production (collaboration with composers and painters is the theme of the Next Wave series) consists of four different sets of prints. The dominant imagery is of dismembered parts of the body and garotted or bound figures. All well and good. Mr. Clemente’s springboard is said to have been a remark about dancers by the Fernch writer Ferdinand Ce-

line - accused of Fascism for his World War II activities. The point is that Mr. Clemente (who lives in Rome, New York and Madras) is not an American, and his fearful dark world has no point in common with the brave new world in this very American piece by an American choreographer and American composer. Even their Africanisms and Bali-isms are pure American avant-garde. Hemispheres has three parts, typical Fenley in its concerto structure, with a quiet movement at the center. Mr. Davis, at the piano, and his ensemble conducted by Dwight Andrews, offers an overture, Esu at the Crossroads, stormy in its pianism and then calm. The three dancers, clad in tuniclike sashed dresses by the fashion designer Rei Kawabuo, from Comme Les Garçons line, begin Before Borders to a musical section called Little Richard’s New Wave. No, begin is not the word. When Miss Fenley shoots across the academy’s Lepercq Space, arms frenetically vibrating and bent, followed by the two other dancers, each on her own trajectory, the impact is a shock. The pace continues, headlong flings

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