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 Post subject: Elisa Monte Dance
PostPosted: Sat Feb 15, 2003 4:04 pm 
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Joined: Fri Oct 22, 1999 11:01 pm
Posts: 17498
Location: SF Bay Area
Quote:
Away From Darkness Into Radiant Light

By JENNIFER DUNNING, NY Times

You can go home again, at least in modern dance. That was the subliminal message of a glowing performance by Elisa Monte Dance this week at the Joyce Theater. Ms. Monte has re-established her company as the single-choreographer troupe it was at its founding in 1981. As a result, there is a fresh, vital new look to her work, particularly in her new "Light Lies" and in her signature "Treading." <a href=http://www.nytimes.com/2003/02/15/arts/dance/15MONT.html target=_blank>more</a>
See also Monte/Brown Dance


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 Post subject: Re: Elisa Monte Dance
PostPosted: Fri Feb 13, 2004 2:24 pm 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
A Mystical View of God's Feminine Side

By JENNIFER DUNNING
The New York Times
February 13, 2004

Her dances tend toward a dramatic urgency that is very Grahamesque. Pilobolus takes over in "Shekhina," a full-company piece in which gauzy fabric unspools from the wings to fill the stage with what looks like white light made three-dimensional.
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 Post subject: Re: Elisa Monte Dance
PostPosted: Fri Nov 26, 2004 12:31 am 
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Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
Via Sacra
By John Percival for The Stage

Elisa Monte’s new work comes with programme notes claiming that each of its three sections carries a message for the audience - about loss, about love, about life. Well, you can hear about loss in the music by Bang on a Can in act one but I looked in vain for recognisable content in any of the dances. Instead, I saw three short plotless ballets to similar music with the dancers wearing similar costumes (near white with dark contrasts) but with varied tempo and emphasis.

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 Post subject: Re: Elisa Monte Dance
PostPosted: Fri Feb 04, 2005 1:57 pm 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
Elisa Monte Dance, Joyce Theater, New York

by HILARY OSTLERE
the Financial Times

What the piece [A Woman's Way (To Nancy with Love from Tom)] does have is a central pas de deux that breaks away from the rhythmic angularity of much of the choreography, becoming stretched and softened as the dancers repeatedly pull apart and return to support each other in various lifts.
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 Post subject: Re: Elisa Monte Dance
PostPosted: Sat Feb 05, 2005 4:25 am 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
Antic Moves Mixed With Lyrical Effects

by JACK ANDERSON
the New York Times

But on occasion, Ms. Monte lengthens her antic choreographic phrases to create lyrical or even elegiac effects. Her two new pieces are in this mode.
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 Post subject: Re: Elisa Monte Dance
PostPosted: Thu Feb 10, 2005 2:00 am 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
Woman Power

by GUS SOLOMONS JR
the Gay City News

Since the modern dance aesthetic – especially pre-post-modern dance – is so familiar by now, we demand a lot of it – transitions must be mechanically flawless, rhythms accurate, shapes clear, unisons precise and emotions sharply focused.
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 Post subject: Re: Elisa Monte Dance
PostPosted: Wed Feb 23, 2005 11:42 pm 
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Posts: 6778
Location: Estonia
Quote:
Elisa Monte Processes Life's Disasters, Intimate or Global in Scale

by TOBI TOBIAS
the Village Voice

Not even Monte's personable dancers, who exude human vitality, can make the material register as a new, piercing take on its eternal subject.
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 Post subject:
PostPosted: Wed Sep 27, 2006 8:26 am 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
At 25, a Company Mixes Rigor With Emotion (and Kinetic Virtuosity)
by JOHN ROCKWELL for the New York Times
published: September 21, 2006

Elisa Monte Dance is celebrating its 25th anniversary, though it was called Monte/Brown for a while, when David Brown shared the artistic directorship. On Tuesday night the company, back under the sole control of Ms. Monte for the last four years, opened the fall season at the Joyce Theater with a run, through Sunday. It was impressive, especially in the second half.
more...


***

Quote:
Body Power
by DEBORAH JOWITT for the Village Voice
published: September 26, 2006

The people in Elisa Monte's choreographed worlds don't have an easy time. They're suspicious of one another and whatever lurks beyond the confines of the stage. Hostility and fear pressurize their big, difficult movements. The complicated ways women clamber around on men's bodies imply eroticism without making it palpable.
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 Post subject:
PostPosted: Fri Mar 02, 2007 10:17 am 
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Joined: Mon Aug 06, 2001 11:01 pm
Posts: 294
Location: Italy and UK
The Elisa Monte Dance has recently been in Italy. I found her pieces quite interesting, especially with regards to her inspirational sources, be them rooted in music, art or photography. The Company presented the following pieces: "Day's Residue", "Volkmann Suite", "Tears Rolling" and "Light Lies".

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 Post subject:
PostPosted: Wed Mar 14, 2007 4:40 am 
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Joined: Mon Aug 06, 2001 11:01 pm
Posts: 294
Location: Italy and UK
WHITE LIES AND ROLLING TEARS FOR THE ELISA MONTE DANCE
Teatro Pergolesi, Jesi (Ancona), 22 February 2007

In studying Martha Graham’s dance world, a special attention need to be given to Graham’s dancers as their temper and exceptionality was a fundamental element for her dances to keep on living. Among them there is Elisa Monte who extensively talks about her experience as a Graham dancer in the book “Goddess – Martha Graham’s Dancers Remember”, edited by Robert Tracy. She danced with the company from 1974 to 1982, during the period when Graham started again to take care of her school and company after a period of illnesses and depression, following her decision to stop dancing. With her there was also her husband, David Brown, with whom she formed her own company in 1981, the Elisa Monte Dance. Since she has created more than thirty works that have been performed by many other companies, such as the Alvin Ailey American Dance Theatre, the Boston Ballet and the Batsheva Dance Company. From Graham she probably learnt to create dances where every single aspect needs to be taken into consideration. Her dancers are technically very talented and her choreographies are often based on a collaboration with artists, photographers or composers.

In 2006 the company celebrated its 25th anniversary and its Italian tour has represented a kind of prolongation of its success. In Jesi, the programme included “Day’s Residue”, “Volkmann Suite”, “Tears Rolling” and “Light Lies”. The first piece was about “the small events of everyday life”. Set to Vladimir Godár’s music, it recalled both in the costumes and some of the movements, eighteenth-century dance, with bows between partners and gracious movements of the arms. The costumes by Karen Young were long and baggy skirts for women and tailed waistcoats for men. In spite of her subtle use of a colour for each couple, red, purple, yellow, and green, black was the predominant shade and it darkened the effect a bit too much. In the programme note the piece was supposed to have a psychoanalytical undertone, but it was not very clear from the choreographic device.

The second piece was a much clearer artistic statement. It was inspired by Roy Volkmann’s photographs of the company and was excellently performed by a trio, Tiffany Rea wearing a pair of black pants, and her two partners Matthew Fisher and Fabrice Lamego, both wearing similar pants too. This choice created a homogeneity in terms of shapes and colour that allowed their different body structure and movement approach to emerge. As Monte affirmed, she “set out to explore the paradox between the static image of a photograph and the continually self-transforming image of dance”. The lines of this piece are particularly clean and beautiful, the dancers perform solo phrases as well as group movements where they intertwine their bodies in challenging poses.

The third piece is a melancholic change. “Tears Rolling” is an all female trio set to the music of Estonian composer Arvo Pärt. The costumes, a short beige dress, are by Monte herself. The three women, Rachel Holmes, Amber Mayberry, Maya Taylor often go and sit on a bench placed on the back stage left. They run forward, perform steps and solo pieces to then invariably return to the bench. They embody the three different emotional aspects of the same woman who is going through a reflection on herself. The tone of the piece is highlighted by the fluid movements of the three dancers and by the music with its switch from string instruments to piano.

The fourth piece is, like the first one, danced by the whole company. Commissioned by the Josef and Anni Albers Foundation, it is a homage to Josef Albers and to his theories on colour. This homage is mainly created through the very good lighting design by Clifton Taylor, who also took care of the lighting design in the other pieces. The costumes are white and manage to express an elegant contrast with “the sensuality and vibration of colour” given by the change of lights. In some of the choreographic pieces there is a quotation from Ailey’s “Revelations”, with the dancers grouped together, their arms and hands up and the lights from above. It is a powerful piece where the dancers run and jump and display all their technical proficiency.

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Rosella Simonari


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