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 Post subject: Jane Comfort
PostPosted: Sat Aug 18, 2001 3:51 pm 
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Location: SF Bay Area
A performance to ponder:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Spinning a Grim City Yarn Family Ghosts<P>Deborah Jowitt, Village Voice<P>Some choreographers call any work with a tinge of drama "dance theater"; others use the term to alert customers to the presence of the spoken word. Jane Comfort works occasionally, and intrepidly, with new or existing plays, mobilizing movement to crack them open.<HR></BLOCKQUOTE><P><a href=http://www.villagevoice.com/issues/0134/jowitt.php target=_blank>More</a>


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 Post subject: Re: Jane Comfort
PostPosted: Fri Apr 16, 2004 4:05 am 
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Posts: 945
Location: Maryland USA
Maternal Grief of Mythic Proportion
By Lisa Traiger
Special to The Washington Post
Friday, April 16, 2004; Page WE24
Quote:
JANE COMFORT had no idea why the ancient Greek myth of Persephone had so insistently captured her imagination. But there she was in the midst of shaping her newest dance-theater work when suddenly she understood. "My daughter was going off to college," she explained, and a few years earlier her son, too, left home. The empty-nest syndrome, writ large in Comfort's subconscious, was played out in the guise of ancient myth. When the connection to Persephone became clear, all pieces fell into place. The work joins a companion piece, "Underground River," about a child's-eye view of life in a coma, this weekend at Dance Place.
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 Post subject: Re: Jane Comfort
PostPosted: Mon Apr 19, 2004 4:43 am 
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Location: Maryland USA
Jane Comfort at Dance Place
Clare Croft
Washington Post, Monday, April 19, 2004; Page C05
Quote:
The musical theater world overflows with "triple threats," artists who can sing, dance and act. Unemployed triple threats should seek out choreographer Jane Comfort. In her company's Saturday night Dance Place show, she employed a troupe of almost triple threats in her newest work, "Persephone." The retelling of the Greek myth about Demeter's struggle with Hades over her daughter Persephone employed dance, song and Comfort's unique sense of theatricality. The amalgam was illuminating, but the performers' lack of polish in movement phrases hurt the overall visual picture.
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 Post subject: Re: Jane Comfort
PostPosted: Thu Oct 07, 2004 7:11 am 
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Posts: 6778
Location: Estonia
Quote:
Jane Comfort and Co. Explore'Persephone'

by CLAUDIA LA ROCCO
the Hartford Courant

Comfort's focus lies more in the psychological ramifications of the story than in a literal retelling. "Persephone's journey represents a journey into self-consciousness," she says. "We resist these journeys because they're terrifying ... but once you gain self-knowledge, the upper world is no longer enough."
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 Post subject: Re: Jane Comfort
PostPosted: Sun Oct 10, 2004 1:11 am 
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Location: Estonia
Quote:
Persephone's Jungian Journey to Hell and Back

by ANNA KISSELGOFF
the New York Times

But "Persephone," her latest premiere, achieves its emotional impact through pure dance filtered by distinctly wordless vocalizing. When Persephone, the heroine of a standard myth, is abducted by Hades, king of the underworld, in Ms. Comfort's reductive retelling, the howl of Demeter, Persephone's mother, becomes a heart-rending cry of irreparable loss.
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 Post subject: Re: Jane Comfort
PostPosted: Thu Oct 14, 2004 9:59 am 
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Location: Estonia
Quote:
Affairs of the Gods

by DEBORAH JOWITT
the Village Voice

The choreographer melds the timeless with the contemporary to show Demeter laying waste to the earth: Hayes, a riveting performer, shrieks and wails her rage and grief, all the while ripping up the tapes that connect the sections of white flooring; those who try to comfort her also roll back the white layers to reveal the black underneath.
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 Post subject: Re: Jane Comfort
PostPosted: Sat Dec 04, 2004 4:09 am 
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Location: Estonia
Quote:
Comfort's dances have style of the cineplex

By HEDY WEISS
Chicago Sun-Times
December 04, 2004

These exceptionally intriguing dances are about change, loss, isolation and the strange sensations of dislocation -- of being removed from one's self, and even from the Earth.
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 Post subject: Re: Jane Comfort
PostPosted: Sun Dec 05, 2004 11:57 pm 
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Location: Estonia
Quote:
Jane Comfort finds some in multimedia presentations

By LUCIA MAURO
The Chicago Tribune
December 04, 2004

The term multimedia, especially in dance, often implies an abundance of loosely tacked-on forms such as text, puppetry and video. But New York-based choreographer Jane Comfort has cultivated what can best be described as seamless multimedia minimalism.
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 Post subject:
PostPosted: Wed Mar 29, 2006 1:12 am 
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Posts: 6778
Location: Estonia
Quote:
Dream Away
A queen of drama returns to her rhythmic roots
by DEBORAH JOWITT foe the Village Voice

Jane Comfort and rhythm go way back. Watching her new Fleeting Thoughts: Mr. Henderson's 3AM, I'm reminded at times of her very early pieces like Artificial Horizon (1983). Comfort subjected language (including foreign tongues and signing) to repetitive patterns that deconstructed and taunted meaning. At the same time, she was developing the astute sense of drama and its emotional rhythms that produced such striking text-based works as Cliff Notes: Macbeth (1988) and the 1993 Faith Healing, a dance theater version of Tennessee Williams's The Glass Menagerie, in which Mark Dendy played Amanda Wingfield.

published: March 28, 2006
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