By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
Both Steve Reichs compositions and Anne Teresa De Keersmaekers dances for her company, Rosas, lay out mathematical and mechanical systems, while subtly revealing untidier aspects of nature and human nature. Reichs precise musical modules can slide into apparent disunity and even degeneracy without ceding an impression of control. Even the wildest moments in De Keersmaekers choreography are governed by fastidiousif often enigmaticstructures.
The recent Steve Reich Evening at BAM charted with thrilling theatricality the works of the American composer and the younger Belgian choreographer as they have evolved from simple, repetitive, slowly evolving patterns to dense, intricately layered compositions. The program opener, Reichs Pendulum Piece (1968, revised 1973), only minimally involves musicians. Two members of the superb Ictus Ensemble approach two microphones hanging from long cords attached far above the stage and set them swinging in opposition over a sound-emitting box. The rhythmic three-note sequence shrinks and re-grows while the men sit motionless on the sidelines, waiting to step in and stop the arcs. Its a hypnotic introduction to Reichs early practice of phasingallowing sound designs to slip gradually out of step with one another.
Marimba Phase (1967) introduces the human element. Georges-Elie Octors and Michael Weilacher face each other across two instruments that have been turned by Remon Fromonts exquisite lighting into the gleaming core of a black space. The players subtle movements and the rapid dance of their sticks further illuminate phasing, as one man speeds up his repeating pattern to fall into new relationships to that of his colleague. Our ears take a trip through a shimmering, shifting landscape as precisely rhythmed as the click of train wheels.
De Keersmaekers 1982 Piano Phase offers a visual analogue to Reichs process. The piece never fails to slay me. Cynthia Loemij and Tale Dolven, wearing simple white dresses, socks, and sneakers, step back and forth on a narrow horizontal path of light at the rear of the stage, one arm swinging like a pendulum on every half turn. Not only do they gradually move out of synch with each other; Fromont gives them three, sometimes four, shadows that merge and separate on the backdrop. Jean-Luc Plouvier and Jean-Luc Fafchamps play pianos set on opposite sides of the stage. The women enlarge their phrase, find new paths of light closer to us. Eventually they return to their home base and get their shadows back.
Piano Phase can be experienced as a sparkling current of sound in which the women swim heroically. Every variation in the movement and its musical streambed is an event. And for all the repetitions and meticulous formality, De Keersmaeker never presents the dancers as robotic. Now they suspend slightly at the height of a half turn; now they whip it around. Late in the game, they snatch up their skirts, then let them drop again as they step (its as if an accidental gesture in rehearsal invaded the design).
As the program unfolds, the space-time configurations become more complicated. For Eight Lines (Reich 1983, De Keersmaeker 2007), the eight women dancers track separate paths through the taped music within a large, soft-edged circle of light. Loemij and Dolven often travel in unison, side by side along the perimeter of the light. The dancing streaks patterns on the space like the tracings of flight paths in airline magazinesonly more eccentric and less longlived. Performers drop out and drop in, sometimes just strolling, sometimes dancing full-blast. The movement style of De Keersmaekers later pieces is frisky, loose-jointed (more like her own dancing in her very early solo to Reichs Violin Phase). People jitter, come into close proximity, and dash awayas nervy as young goats. The illusion of impulsiveness animates the strict, if mysterious structure.
Only men perform the choreographers also recent Four Organs (to Reichs 1970 score). Four Ictus musicians cluster to play electric organs, while a fifth monitors their murmur with the sharp, dry beat of two maracas. The organists begin by punching out a single heavy, staccato chord, and De Keersmaeker presents a rhythmic analogue: five men striking bold, individual positions and pausing before the next one. The musicians soon start dissecting, and the men skein out into complexity, not to say verging-on-rowdy bonding (Bostjan Antoncic is especially compelling). Sometimes the instruments howl what sound like almost microtonal discords between them; toward the end, they fall into unison on a single note and them build up again. These days De Keersmaeker is more apt to repeat a whole, substantial module at a later point in the choreography, rather than to reiterate a shorter, plainer pattern over and over. Several times we see four of the men together execute a side-stepping phrase, while Kosi Hidama does a simpler, pared-down version of it that doesnt travel.
While the dancers take a break, De Keersmaeker slips in a time-game that appends a witty footnote to Pendulum Piece: Györgi Ligetis Poème symphonique pour cent metronomes. The assembled hundred wooden metronomes wave their little metal arms at us, out of phase almost from the get-go, and gradually drop out until only one diehard is clicking away. We wait for it to wind down with something close to bated breath.