IMPRESSIONS OF: Gwen Welliver
Impressions of Gwen Welliver
April 8th, 2013
Visual art plays a pivotal role in Beasts and Plots. (An electronic installation of Welliver’s sketches she composed alongside the choreography flickers in the lobby.) Her movement investigation commenced with the instructions to “Line. Fold. Rotate.”as if her dancers were scraps of paper to be fashioned into origami.
|Gwen Welliver's Beasts and Plots Dancer: Stuart Singer; Photo Ian Douglas|
Welliver drains the body of its third dimension and emphasizes its capacity for angular edges. Thrust into relief against a white backdrop akin to an artist’s canvas, dancers resemble a Greek frieze come to life. Arms extend like an equal sign, knees hinge sharply, and the dancers are often oriented in profile. Although the physical images are spiky, their movements ripple from one joint to another.
|Gwen Welliver's Beasts and Plots ; Foreground Dancer : Beth Gill; Photo Ian Douglas|
|Gwen Welliver's Beasts and Plots, Dancer ,Julia Burrer ; Photo Ian Douglas|
|Gwen Welliver's Beasts and Plots Dancers Jullia Burrer,Gwen Welliver, Kayvon Pourazar and Stuart Singer Photo Ian Douglas|
Beasts and Plots follows a mysterious logic. Vignettes tumble one after the other without much coherence. Sometimes, a performer enters and eyeballs the action for no discernible reason.The piece ends in an odd spot; after a tender duet with Kayvon Pourazar, Singer backs up extending his arm. It feels like a transition to another scenario, but the lights fade and the audience scrambles to applaud.