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 Post subject: David Dorfman Dance
PostPosted: Sat Mar 13, 2004 4:03 pm 
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An Illuminating Performance
By Lisa Traiger
Special to The Washington Post
Friday, March 12, 2004; Page WE20
Quote:
WHAT HAPPENS when the lights go out? David Dorfman has been thinking a lot about that lately. He is searching for a way to deal with the vivid pain of loss and its ongoing dull ache. For Dorfman, a New York-based choreographer acclaimed for his visceral, physical dances, the light bulb becomes a metaphor for lives and relationships lost and found.
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 Post subject: Re: David Dorfman Dance
PostPosted: Mon Mar 15, 2004 9:45 am 
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Dorfman Turns On His 'Light Bulb'
Washington Post
Monday, March 15, 2004; Page C04
Quote:
Casually stepping onto the proscenium stage, David Dorfman began to move even before the house lights dimmed. He displayed his quirky vocabulary of spins, drops and throwaway arm gestures, propelling himself to the edge of the stage. Then the curtain dropped behind him, transforming Dorfman from dancer to host welcoming the audience to a "sneak preview" of two pieces in progress Friday night at the George Mason University Center for the Arts.
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 Post subject: Re: David Dorfman Dance
PostPosted: Wed Mar 31, 2004 10:03 am 
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Location: Estonia
Quote:
Nothing Less Than Life or Death

By JENNIFER DUNNING
The New York Times
March 30, 2004

One of the great pleasures of watching dance in New York over the past decade or so has been seeing the growth of David Dorfman from accomplished to inspired modern-dance choreographer.

...

"Lightbulb Theory," set to a haunting piano score by Michael Wall, took on nothing less than life and death.
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 Post subject: Re: David Dorfman Dance
PostPosted: Thu Apr 15, 2004 12:16 am 
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Location: Estonia
Quote:
Hell and Heaven

By DEBORAH JOWITT
The Village Voice
April 13, 2004

There's nothing minimal about David Dorfman's works. Or tidy. If they were food, their flavors would explode in your mouth and juice run down your chin. And it's rare to see performers as fearless and warmly lavish as Paul Matteson, Heather McArdle, Jennifer Nugent, and Joseph Poulson.
more in the second part of the linked article


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 Post subject: Re: David Dorfman Dance
PostPosted: Sun Feb 13, 2005 4:57 am 
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Location: Estonia
Quote:
Letters: Protecting Dancers

the New York Times

This does present scheduling issues but does not reflect a loss of paid rehearsal time. As for the idea that it is a sacrifice for the dancers to rehearse here in New London, I feel good that the company can rehearse in bright, large, airy studios, have access to two theaters to work out ideas, and benefit from the feedback of students, peers and mentors.
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PostPosted: Fri Jun 03, 2005 9:56 am 
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Location: Estonia
Quote:
Venturing in Energetic Pursuit of Big Themes
by JOHN ROCKWELL for the New York Times

The problem, I think, was how the choreography fell uneasily between abstraction and narration.

published: June 2, 2005
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 Post subject:
PostPosted: Tue Jul 19, 2005 2:25 pm 
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From Thea Singer in the Boston Globe:
Quote:
Exploring heavy issues with a light touch
David Dorfman makes urgent dances that tear at your heart even as they tickle your funny bone. He’s a physical comedian who uses spoken text with pie-in-your-face gestures, tender tweaks, and articulate pratfalls to tackle Big Themes: the bittersweet ache of loss, the beauty in middle-age love, the likenesses that bind people even as they fight over territorial rights.

The three dances he presented at Concord Academy on Thursday night ranged from the poignant to the inscrutable.

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 Post subject:
PostPosted: Thu Jul 21, 2005 7:51 am 
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The second part of Maria Siegel's article in the Boston Phoenix reviews a dance concert by David Dorfman:
Quote:
Middle World lessons
Robert Wilson in New York, David Dorfman at Concord

There was a magical reward ... at David Dorfman’s concert, which opened the Concord Academy Summer Stages Dance series. Dorfman finished a solo at the beginning of his 2004 Lightbulb Theory and went upstage to where a column of dim lights had been hanging. He touched it and the lights flew apart, swinging in a glowing canopy above the dark stage. The audience gasped with pleasure.

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 Post subject:
PostPosted: Tue Sep 19, 2006 5:32 pm 
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Location: San Francisco
Just wanted to bump this as David Dorfman Dance will be in San Francisco this weekend with the Bay Area premiere of underground. I'm seeing the show Saturday, so I'll report back Sunday morning, but I highly recommend seeing the company! Plus, they'll be using local dancers in the work.

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 Post subject:
PostPosted: Sun Sep 24, 2006 11:12 am 
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Location: San Francisco
Politically Charged “underground” Plants Roots
David Dorfman Dance's "underground"
Presented by Yerba Buena Center for the Arts
September 23, 2006


Yerba Buena Center for the Arts kicked off its new Worlds Apart series with the Bay Area premiere of David Dorfman Dance’s “underground.” Using the 1960s Chicago activists the Weathermen as an impetus, “underground,” at a tight 50-minutes, provides an introspective look at the fine line between protest and terrorism, the feeling of apathy, and how each of us makes a difference today and in the future.

While Dorfman is a master of dance, he’s also a leader of incorporating movement and ideas into complex performance works, and “underground” is no different. Combining dance, song, text, and video documentary, Dorfman has created a thought-provoking work. His use of organizing bodies on stage may seem chaotic, but purposeful as well. Dorfman often placed his dancers into clusters or lines, perhaps in representation of groups of protesters versus army units lining up for battle. Dancers marched in circles, reminding us of the continuous need for action, and they often did this in pairs, riding home the idea that if we support each other, we may be more successful. This idea crept up again from time to time, from leaning on someone to pushing or encouraging them to stand up for their beliefs. Circles carried over into the more choreographed movement, with dancers performing hip swivels, spinning lifts, and spins with a sense of freedom and abandon.

Text and imagery played an important part in the “wholeness” of this work. At one point, Karl Rogers asked questions of the artists, and depending on their responses, they danced forward or back, somewhat like an icebreaker you might play at college orientation. Throughout “underground,” the use of a raised arm, a hand, took on profound significance as both a form of participation and a request to stop, and dancers spoke the word “now” in a whisper and a shout, emphasizing that our decisions at this exact moment affect everyone else to some degree. Jonathan Bepler’s score proved varied and moving, similar to a heartbeat at times and others like a lullaby rocking a baby to sleep.

One additional feature of “underground” was the use of local dancers as the corps. The dancers seemed competent and well rehearsed, and they blended nicely with the company’s performers.

The title underground seems to fit the work perfectly, and not just because of Sean Green’s Academy Award-nominated documentary “The Weatherman Underground.” “underground” represents where we plant our roots and how we gain the nutrients to grow and survive. Can we grow if we stay silent? And if we have no roots, no convictions, no feelings or beliefs, do we then default to apathetic indifference?

The company’s post-performance discussion was particularly enlightening and many audience members from the full house stayed. Of particular note was how to move “underground” forward and have it seen by more audiences, and how to gain corporate support for such a controversial work (interestingly, David Dorfman’s presentation at YBC was sponsored by United Airlines).

David Dorfman Dance will next perform “underground” October 28th, 2006 at Connecticut College’s Palmer Auditorium.

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 Post subject:
PostPosted: Wed Nov 22, 2006 3:41 am 
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Location: Estonia
Quote:
Going Underground
Exploring the line between terrorism and activism
by DEBORAH JOWITT for the Village Voice
published: November 21, 2006

In the past, Dorfman's warmhearted dances have explored the light and dark places of the psyche, family, and community without reference to specific events in world history. Underground expresses in words and movement his distress over American citizens' apathy in the face of political corruption and threats of terrorism. Patrick Ferreri recounts a journey from impotent anger to no longer caring. Nugent delivers a terrorist's scary justification: "If I kill one person," she says, "I could save three people." She multiplies this flawed ratio into billions of dead and, with a pointing finger, includes us among them.
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