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Shen Wei Dance Arts through 2002-03
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Author:  Basheva [ Tue May 01, 2001 10:35 am ]
Post subject:  Shen Wei Dance Arts through 2002-03

From the New York Times:

'Behind Resonance': In a Sculpture Garden, Beauty as Strangeness


The opening image of "Behind Resonance," a new dance piece by Shen Wei, a 32-year-old Chinese choreographer who is attracting increasing attention, is striking.

Chalk-white figures in draped gray velvet become slowly visible under a lifting gray-blue mist. The piece has a strangeness in the best sense, radiating an originality that is both dislocating and stimulating to the eye.

<small>[ 25 July 2003, 08:41 AM: Message edited by: Azlan ]</small>

Author:  Basheva [ Sun Jun 24, 2001 5:38 am ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

From the New York Times:<P> Image <BR> <BR> <BR><font size =1>Joan Marcus <BR>The choreographer Shen Wei will present a new work, "Near the Terrace II," at the American Dance Festival next Sunday.</font><P><BR><B> Shen Wei: A Choreographer With His Heart in His Imagery</B><P>By ANNA KISSELGOFF<BR> <BR> <BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>FOR Shen Wei, a 33-year-old Chinese choreographer who is attracting attention at international festivals, dance is essentially about one thing: what he calls "the beauty of human life."<HR></BLOCKQUOTE><P><A HREF="" TARGET=_blank><B>MORE...</B></A><P> <P><BR>

Author:  Azlan [ Tue Jul 03, 2001 8:11 pm ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

A review of Part 2 of <I>Near The Terrace</I> performed at the American Dance Festival:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>American Dance Festival: A Stream of Images Inspired by Surrealism</B><P>ANNA KISSELGOFF, NY Times<P>DURHAM, N.C., July 2 — At the end of "Near the Terrace," a dance work unlike any other, which the Chinese-born choreographer Shen Wei presented at the American Dance Festival here on Sunday, a woman clad only in a purple skirt stands atop a stagewide series of steps.<HR></BLOCKQUOTE><P><A HREF="" TARGET=_blank><B>More</B></A><P><BR>For a photo of the work, go to the<BR><A HREF="" TARGET=_blank><B>ADF Shen Wei Dance Arts Publicity Page</B></A><p>[This message has been edited by Azlan (edited July 03, 2001).]

Author:  Stuart Sweeney [ Sun Oct 21, 2001 8:53 am ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

<B>Shen Wei's moving steps</B><BR>By Jean Battey Lewis in The Washington Times<P><BR>Shen Wei Dance Arts, a small group formed less than two years ago by a native of China with a spiritual vision, is finding a responsive audience. The 12-member dance company performs Tuesday and Wednesday at the Kennedy Center. After that, it makes its European debut and embarks on a U.S. tour. When asked what was most important to him in his artistic development, founder Shen Wei pauses and then responds, "I found out how to live as a human being, and what is the human meaning in our life."<BR> <BR><A HREF="" TARGET=_blank><B>click for more</B></A>

Author:  Stuart Sweeney [ Wed Oct 24, 2001 11:42 pm ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

<B>Shen Wei's Waking Dream</B> <BR>By Alexandra Tomalonis in The Washington Post<P><BR>Shen Wei Dance Art's "Near the Terrace," a danced dreamscape unveiled Tuesday night at the Kennedy Center's Eisenhower Theater, is beautiful and wondrously strange. Dancers, dressed only in pale blue skirts, their bodies powdered white, walk with measured tread, fall in slow motion into each other's arms. Someone is always moving -- walking, crawling, rolling -- yet there is little movement. The dancers repeat actions endlessly as though caught in a dream, unable to run, unable to escape danger. But there is no fear, only serenity.<P>Because the movements are so slow and controlled, Shen forces us to look closely at what each dancer is doing; a single slow pirouette seems like rebellion. <P><A HREF="" TARGET=_blank><B>click for more</B></A><p>[This message has been edited by Stuart Sweeney (edited October 25, 2001).]

Author:  Misa_danseuse [ Fri Jun 14, 2002 9:07 am ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

Image <BR>In the Ny Times:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>DURHAM, N.C., June 11 — If there is something to write home about in the dance world, it is the startlingly imaginative work of the Chinese-born choreographer Shen Wei.<P>To say his view of Stravinsky's "Rite of Spring" is unlike any other is foolhardy. Yet it is hard to recall anyone else who has responded to the music with such striking, stripped-to-the bone abstraction as Mr. Shen has this week at the American Dance Festival. This is imagery and conceptualism with a difference.<HR></BLOCKQUOTE><P><A HREF="" TARGET=_blank><B>Click for More</B></A>

Author:  Azlan [ Sun Jul 20, 2003 8:51 am ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

Playing a Serious Game of Twister

NY Times

SHEN WEI'S choreography for his new work, "The Rite of Spring," represents an intersection of two of his passions: dance and painting. <a href= target=_blank>more</a>

Author:  Azlan [ Thu Jul 24, 2003 3:40 pm ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

Shen Wei Dance Arts Makes Its N.Y. Debut

Associated Press

NEW YORK - Shen Wei Dance Arts had a modest start with its version of "The Rite of Spring": Dancers walked slowly onto a giant, painted canvas holding their positions until the first strains of Stravinsky's music erupted. <a href= target=_blank>more on Yahoo</a>

Author:  Azlan [ Fri Jul 25, 2003 6:27 am ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

A Breakout for the `Rite'

NY Times

Poetic, impudent, beautiful and strange, the dances of Shen Wei, a Chinese-born choreographer, announce the advent of a strikingly original artist who fits into no familiar category. <a href= target=_blank>more</a>

Author:  Stuart Sweeney [ Mon Jul 28, 2003 12:05 am ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

Rite of Spring/Folding
By Hilary Ostlere for The Financial Times

Everyone and his brother - and sister - at some time has attempted to choreograph Igor Stravinsky's monumental The Rite Of Spring. From Vaslav Nijinsky on there have been versions by Kenneth MacMillan, Martha Graham and Paul Taylor among others. Now Shen Wei, a Chinese born choreographer who lives in New York, is presenting hisRite.

It melds his talent as an artist with the dance. The stagecloth is one of his abstract paintings broad brush lines randomely stroked in subtle shades of dusty gray and blue. On it's surface 12 dancers including the dynamic Mr Wei flail, jump, twist, run and spin in choreography that owes much to modern dance but also something to the Huan Xiin opera, where his father performed, and the Hunan Arts School's Chinese opera department, where he studied.

click for more

Author:  Azlan [ Tue Jul 29, 2003 10:47 am ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

Ideas Bred in China and Israel Coincide at Lincoln Center Festival
Landscape Painting

Deborah Jowitt
Village Voice

Even if you missed the large paintings hanging in the theater lobby, you'd guess that Chinese-born Shen Wei is a visual artist as well as a choreographer. <a href= target=_blank>more</a>

Author:  mehunt [ Tue Jul 29, 2003 7:44 pm ]
Post subject:  Re: Shen Wei Dance Arts through 2002-03

From Holly Messitt:
Shen Wei Dance Arts
“The Rite of Spring” and “Folding”
July 23, 2003, LaGuardia Concert Hall
by Holly Messitt

Part of the power in Shen Wei’s work lies in his ability to execute the unity of his vision. He choreographs. He designs his company’s costumes. His paintings form the settings for his dances. We watch, in other words, the cohesiveness of an expansive mind, a new hybrid of Eastern and Western that brings freshness of vision even to music that may now seem overdone.

The first piece on the program during Shen Wei Dance Arts’ three performances last week in the Lincoln Center Festival was “The Rite of Spring.” Rather than a more traditional orchestral score for Stravinsky’s music, Mr. Shen opted for a version with four hands on the piano played by Fazil Say. Mr. Say played one half of the score live accompanied by another section he pre-recorded himself for the “other” two hands. To this most Western music, the dance choreography was a cross between contemporary Modern dance and Chinese opera, a tradition Mr. Shen inherited from his father and uncles who performed in Hunan Xian opera. It was hard as a Western viewer to recognize these Chinese elements immediately, however, since much of the movement felt at once familiar. The costuming also looked familiar to a Western viewer. The dancers’ gray and black costumes – loose trousers and tight tees for the men, skirts or tight pants for the women, all with splatters of paint – made them resemble hip downtown artists.

However, looking for long enough I realized that all thirteen members of the company were on stage at once for much of the time and that except for once, when Mr. Shen stepped out in front of the rest of the company, no one danced alone. There were no pairings either and no principle dancers. A group of four or six dancers might work the same movement for a time, but the groups fell apart as one dancer inevitably started experimenting with another form of movement. Yet even then, the dancers were always moving in relation to one another, always reacting spatially to another dancers’ movement. Each movement felt strategic, as if the dancers were trying to strike a balance between all the bodies in the space. For this piece, the company danced atop a painting by Mr. Shen, who has studied calligraphy. The long white brush strokes within the gray of the paining looked like the traces of the dancers’ footwork.

If in many ways “The Rite of Spring” felt familiar, “Folding,” the second piece of the evening, felt otherworldly – neither Western nor Eastern. The dancers appeared on stage in the beginning of the piece two at a time. Using a quick heel/toe walk that relied on the whole foot to propel the movement, the dancers all glided across the floor as one would imagine a person might walk on water if that were possible. As each pair moved from the front of the stage to the back, turned and exited they were perfectly coordinated as if they were traveling along a set track, so straight were their lines and so precise were their turns. Each dancer wore a long straight skirt of red cloth folded in the back to form a panel that drifted out into a flowing train and a headpiece that that can only be described as beehive-shaped which made the dancers look alien, or perhaps aquatic against the backdrop of aqua blue, one large and two smaller fish painted on top of the blue. It was very difficult to see any individuality in any of these dancers.

In the last section of the piece Mr. Shen walked a group of ten dancers on stage. Here, with Mr. Shen standing in front of and away from the group, bodies folded. In various ways over many minutes, the group bent at the waist, elbow, or knee. After such experimenting the group, minus Mr. Shen, moved to a now pitch black backdrop. There must have been stairs at the back, but the audience could not see them. Facing away from the audience, the dancers moved into a background that appeared to have no depth and as they moved, they looked as if they weightlessly rose to form a human Mandela. It was a stunning image to conclude an evening of some of the most interesting work happening in contemporary dance.

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