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Word: soll (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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...work by the same choreographer every few months, and to note what impressions remain the same, leaving imprints of the artist's style. This weekend at MIT local choreographer Beth Soll presented "Map," and as in "Clearfield," her piece performed earlier this spring, she was cavorting off to the side of the action like some imperious imp. But a performing persona is only one aspect of style; more interesting to see is how Soll's choreography transcends this way of moving...

Author: By Susan A. Manning, | Title: Knots and Bolts | 5/3/1977 | See Source »

...Soll's method in terms of movement technique is most clearly shown in "Lines of Perception," a dance by John Hofstetter which made up the first half of the program. Soll's frequent collaborator, Hofstetter, distilled the movement style they both favor and offered it bone-dry: a sequence of movements executed four times with four different spatial orientations. One figure (Hofstetter) walks at a visually imperceptible pace to trace the boundary of the performing space...

Author: By Susan A. Manning, | Title: Knots and Bolts | 5/3/1977 | See Source »

...controlled, and I thought modern dance was supposed to loosen things up," remarked a friend. The movement is as restrained as ballet. Soll and Hofstetter use the values of classical dance--continuous sequences punctuated by clear shifts in weight and sharp changes in direction--to fuse a new movement style...

Author: By Susan A. Manning, | Title: Knots and Bolts | 5/3/1977 | See Source »

Hofstetter smeared his tidy creation ever so slightly with two motifs also used by Soll: vaguely evocative hand gestures passing over eyes or mouth, and people carrying one another's weight. Soll welds the two into the most vivid image of last year's "Safari" and this season's "Map": a human chain, people burdened with one another as with heavy loads or corpses, journeying slowly through space. The structure of "Map" has this same open and nothing quality, small-scale events against a large group moving as a whole, detail against a drifting mass. I like...

Author: By Susan A. Manning, | Title: Knots and Bolts | 5/3/1977 | See Source »

...EVEN TEMPO of changes in movement quality and the unvarying level of intensity in execution anchor the multiplicity of surface motifs in "Clearfield." The only larger sense of form seems to be increasing differentiation. In the first half Soll remains separate from her four companions, who change off in duets, trios, and quartets. In the second part she begins to interact with the others; the quartet breaks up and the choreography becomes more diffuse as each performer defines a sphere of his own. In this latter section there are deliberate breaks in the monotone of the first half. The dancers...

Author: By Susan A. Manning, | Title: Lubovitch at the Loeb, Soll, and New England Dinosaur | 2/10/1977 | See Source »

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