Word: chassler
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Dates: during 1976-1976
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...first section of the piece takes off from a series of six action words. The group rehearses the actions/ideas suggested by the verbs beforehand, yet doesn't decide on order of performance until the concert begins. Sunday Chassler arranged the series: "run, roll, fall, lean, catch, hold...
Next is a brief section titled "long lines falling into turning spinning" and then three solos. Chassler and Lusterman recite prose poems as they solo, while Norman ends the concert with a terse movement statement...
...Chassler's style speaks strongly about the dancer relying only on his or her self. She rejects the theatrical possibilities of costuming, lighting and decor, paring down her dance to essential movement and, even further, to the performer's highly-disciplined concentration. Chassler often works with eyes half-closed, sunk deep inside herself, focused on word imagery, the wellspring of her dance...
Here is a radically subjective art, yet through this back door of self-improvement Chassler breaks through to objectivity. She has a gift for turning her insides out--for being so inside herself that she's not herself at all. The thrill of her dance is its transparency...
Lusterman and Norman don't possess Chassler's presence, her power to absorb an audience with each slight twitter. The two perform well in the idiom of Chassler's movement and occasionally hit upon the nexus of subjectivity/objectivity. Yet neither command Chassler's magic...