In parallel with the topics in 'Ballet' and 'Other Dance', we invite you to tell us about unforgettable performances that you've seen.<P>To start things off, I have transferred this discussion of 'Swansong' from the original topic in 'Fun'.<P>Stuart Sweeney:<P>Very tricky, as there are so many performances that create a great impression for a variety of reasons. Maybe some were magical because of the time when one saw them.<P>I think the first time I saw 'Swansong' by Christopher Bruce was a very powerful experience for me, given my long time activity in Amnesty International. The Canadian dancer Pattie Hines is one of Rambert Dance Company's most expressive women dancers and she squeezed great emotion out of the role of the prisoner under interrogation from two callous guards. Nevertheless, the way she kept an amazing restraint and avoided melodrama was wonderful to behold.<P>I later saw the video version with the original ENB cast features Koen Onzia as the prisoner and he is also amazing. The solos in his cell, especially at the end, are some of the loveliest work I have ever seen. I'm looking forward to seeing another of Rambert's terrific women, Didi Veldman, in the role at Sadler's Wells in December. <P>Why is the work so powerful? The different styles of dance are surprising and effective, the themes are strong and clear. The mix of solos and pdd maintain the tension and the comedic parts prevent emotional exhaustion before the end.<P>The triumph of the spirit as the 'Prisoner' walks off stage into a bright light, at the end, is a remarkable coup de theatre. The set could not be simpler - a chair and very effective lighting. The specially composed music works very well and has some haunting tunes as well as a mix of styles to suit the different dance forms.<P>For those who has not seen it, I cannot recommend it too highly. It is also a good first time work for newcomers to dance. Has it ever come up for consideration for Maximum Dance, shag. <P>shag: <P>In answer to Stuart, I have no idea but your praise certainly warrants a look-see.<P>I'm about to post on the Today's Chor. thread a few folks who have worked with Maximum in hopes that I will learn of others like Christopher Bruce. <P><BR>Azlan: <P>I saw Rambert do Swansong a few years ago in Berkeley. I have to admit it disturbed me at first but looking back at it now, I know why -- it was psychologically terrifying. Much of the terror, as I recall, came from from implied threats in the subtle body language.<P>

Rambert doing Bruce's powerful 'Ghost Dances' in the tent at Battersea Park one summer (English summer!) with a cracking thunderstorm raging outside, which added so much to the drama: eerie! unforgettable, and marvellous...

compagnie montalvo-hervieu in "Paradis" - a don't miss, if you ever get the chance to see it - although i notice when they were at the barbican recently, they are touring a new work now.<P>no doubt the new work is not too dissimilar from the previous, from what i understand about how the company works and what their strengths are (and from having read the reviews).<P>use of new technology married to dance is one theme. another is dance diversity. another is happiness, vitality.<P>the dancers are strong, but it is the actual 'product' or artwork as a work, which is so attention-grabbing, so amusing, so playful, so unforgettable - i think this one will stay with me for many years: genuinely startling, refreshing, 'amazing' in the literal sense of the word.

Dear All<P>Apart from grace and I, am I to take it that the Modern Dance that everyone has seen is so dull that it is all very forgettable?<P>If not, then do share your memories with us.

A woman named Yin Mei came to Alaska several years ago and performed. Her dance is a combination of a chi gung and Chinese background with modern dance sensibilities. During her solo pieces I remember being riveted by the simple movements she so effortlessly made. And she glowed in silken costumes. She was expressive without caracature and her dances/performance beautiful without being one-dimensional.