Word: difruscia
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...frustrating incoherence marred both Ann diFruscia's "Prisma" and Elizabeth S.-Wilkerson's "When the Street Lights Come On," accenting the uneven choreography of the company. In "Prisma," large wooden angles and U-shapes hung at the back of the stage, suggesting the organizing principle of the choreography. At its best, the dance was forthright and geometric, firmly asserted on the ground and in space as a series of poses blocked and held. Too much of its tedious time-span, however, was cluttered with extraneous movement: what should have been an architecture of simplicity was badly in need of discipline...
Fine's presence is more overt in Elizabeth Lurie's "A Garden Romance," a sequence of theatrical actions built with a dance momentum. Fine is the groom to Ann DiFruscia's bride, and the imaginative scaffolding of theri romance turns on an old-fashioned stand-up bathtub. It sounds gimmicky, but is not; on the contrary, it is the sort of fantasy dance best sustains...
...DiFruscia offered a more everyday sort of fantasy, "3 Distances and 12 Words (Part II)," for dancers, vido and film. I'm not sure what effect the media contribute to the work. The video sets hardly command one's attention, and the taped narrative leaves a vague impression beside the vividness of the dance action. (Words with dance are curious--the way words make sense springs from a rhythm so different from the logic of dance that they pass by like soap-opera dialogue, which probably is half their purpose.) In the second section, with the projection equipment shut...
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