Marcia B. Siegel writes in The Boston Phoenix (Oct. 24-31, 2002):
Kelley Donovan’s work is rooted in abstraction the old modern-dance way. You don’t come right out and dance your feelings or your personality because that would be egotistical. And if you dance about something else, you can’t be literal or pantomimic. The solution, for Martha Graham, Doris Humphrey, and the founders of the only serious alternative to ballet in the 20th century, was abstraction. The dancer extrapolates out physically from a real gesture or discharge of emotions so that the movement engages the whole body, but the original action is there only as a phantom, an inkling, a metaphor. Think Picasso’s guitars.
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