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 Post subject: Pappa Tarahumara (Dance-Theatre Troupe)
PostPosted: Thu Mar 09, 2006 12:56 am 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
She Croons. He Howls. Will They Connect?
by CLAUDIA LA ROCCO for the New York Times

Adapted from Gabriel García Márquez's story "A Very Old Man With Enormous Wings," the hourlong "Island" does not encourage synopses. In bursts of one-sided dialogue and narration, Ms. Ogawa describes how her husband threw himself, rather literally, into books after returning from a war. "I can only think he disappeared in maps he has drawn on books," she explains.

Now an old woman, she searches the library for him, accompanied by Mr. Matsushima, who might be an old lover, her husband, a ghost, all of these things or none of the above.

published: March 4, 2006
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 Post subject: Three Sisters
PostPosted: Fri Feb 02, 2007 11:20 am 
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Joined: Tue Jan 04, 2000 12:01 am
Posts: 12224
Location: Seattle, WA, USA
Pappa Tarahumara performs "Three Sisters" at Seattle's On the Boards through Saturday, February 3, 2007.

Alice Kaderlan reviews the performance in the Seattle Post-Intelligencer:

Seattle P-I

Mary Murfin Bayley in the Seattle Times:

Seattle Times


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PostPosted: Fri Feb 20, 2009 12:57 pm 
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Joined: Thu Mar 25, 2004 12:01 am
Posts: 350
Location: San Francisco
Pappa Tarahumara is at YBCA in San Francisco this weekend. I saw the opening performance last night and really enjoyed "Ship in a View," the 95-minute dance-theater work! I'll post about it later today.

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So two dancers walked into a barre...


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 Post subject:
PostPosted: Mon Feb 23, 2009 1:11 am 
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Posts: 350
Location: San Francisco
Pappa Tarahumara
"Ship in a View"
Yerba Buena Center for the Arts
February 19, 2009, 8PM


Japan’s Pappa Tarahumara, a dance-theater troupe, sailed about last Thursday in “Ship in a View,” creating bold images of remembrance while using intricate props to transform the stage at Yerba Buena Center for the Arts into an extraordinary, fantastical world.

Directed by founder Kiroshi Koike, “Ship in a View” pushes the abstract and imaginary, with the twelve dancers playing towards their strengths of operatic song, modern dance, gesture, and theater through sections that seemed like a series of fantastical clouds interweaving through dreams. The stage filled with blueish white fog, enveloping the centered wooden post and the audience in a 95-minute trance of swirling images and rocking emotions. And as a tiny ship embarked across the stage, we entered a world of water and motion. Various performers ran around the stage, wailed with heartbreak, and climbed the mast to look out towards the horizon, but “Ship” didn’t feel slapped together; on the contrary, the attention to detail astounded me. Koji Hamai and Ryoichi Isomoto’s simple yet elegant costumes fit well and looked to be made with extreme craft and care; all flattered and enhanced the presentation, especially those in light blue and citron at the conclusion, which, combined with Yukiko Sekine cool lighting design, created a wintery futuristic feel. “Ship” built slowly but surely, like the tortoise versus the hare, towards a grand, climatic finish, featuring twinkling lights hanging from overhead and a metal man with a flat screen face.

Koike’s vision along with the casts’ vast repertoire and choreographic intricacies seamlessly blended into a stunning and riveting event. The evening felt unexpected, but wildly refreshing, and Pappa Tarahumara provided a unique and enjoyable experience.

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