| 词条 | Contraband (performance group) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 释义 |
Emerging with the 1985 work Evol, the group went on to combine contemporary dance with contact improvisation, live music, ritual, activism, innovative set design, and work with experiential states (see essential states), developing a more expressionistic approach to dance and theater on the West Coast.[4][5][6][7] Many members have continued on to further professional careers in art, music, dance, and circus. Members include director Sara Shelton Mann with Lauren Elder, Keith Hennessy (Circo Zero Performance), Jess Curtis (Jess Curtis/Gravity), Norman Rutherford, Rinde Eckert, Kim Epifano (Epiphany Productions), Jules Beckman (libertivore, Collectif AOC), Elaine Buckholtz, Nina Hart, Brenda Munnell, Kathleen Hermesdorf (La Alternativa), Brook Klehm, Julie Kane, Shannon McMurchy (McGuire), and Peter Kadyk. The company dissolved in the mid-90s due to financial concerns. WorksCanada
EvolPremiered in 1985 at The LAB, in San Francisco. Evol (love spelled backwards) began as a performance research project, developing into a show that attained a cult-like following amongst audience members. Integrating dance with spoken word/text, the performance dealt with issues of gender and identity politics. ReligareA site-specific work, developed at the Gartland[8] Pit in the Mission District of San Francisco. Religare mixed installation and live art with dance and music to create a ritualized performance for renewal of a site traumatized by arsonry and neglect.[9] It received unprecedented support from the community, inspiring participation by audience members (in music-making, site maintenance, crowd safety, publicity, as well as a mural). The title Religare comes from the Latin to bind fast or to reconnect, the Latin root for religion. It was restaged at Laney College, and in 1989 as Religare II at the Plaza West Eddy St Projects. The (Invisible) WarA piece on gender and relationships, collaging wild, inventive movement duets with experimental theater and song.[10] OraclePremiered at Theatre Artaud, SF, in 1988. Featured a set of "junkyard" objects, including electrified barbed wire and a refrigerator swung as if a pendulum, inducing a hypnotic effect to the dancing.[11] This durational, physical quality to the set anticipated further design by Elder, such as the use of melting ice blocks in Mira, Cycle I, where the set moved with, and was as dependent on the laws of physics, as the dancers. Spoken text backgrounded the dancing, lending an idiosyncratic character to each dancer's movements.[11] MandalaMandala explored themes of masculinity and upbringing; weaving music, movement, ritual, and storytelling together into a pastiche of performance work. Evocative of a personal inner journey, Mandala experimented with a re-imaging of male culture. It was performed by male company members Jess Curtis, Keith Hennessy, and Jules Beckman; directed by Remy Charlip and Sara Shelton Mann.[12][13][14]The Mira CyclesInspired by the 16th Century Hindu poet, Mirabai, The Mira Cycles was a trilogy exploring the mystic and the journey to a higher self.[15][16] The first, Mira I, took place beneath melting blocks of ice, containing embedded flower branches. Mira II: The Fall worked with the "other", or Mirabai's theme of the "dark one," delving into the unseen part of the psyche. The use of free-flowing water pervaded in Mira III: Return to Ordinary Life.
Collaboration & ProcessInspired by a fluidity of roles, Contraband often functioned as a collective, guided by Shelton Mann's directorial vision. Though the title was originally used for pieces made in Canada by Mann, the company that came to be known as Contraband did not begin until the 1985 San Francisco group, starting as a research project for Evol. Rehearsals were highly research-based, using contact improv and theatrical experimentation from which to develop material. Collaborators regularly contributed beyond their stated role: the lighting designer sang, the composer acted, and the dancers played music, sang, and acted.[17][18] Related ProjectsOther projects by Contraband members include Off-Limits, a performance happening directed by Lauren Elder, and subsequently other Contraband members. Assorted collaborations and independent projects between members are Indicative of the group's collective approach to art-making. Style and ApproachContraband was marked by a voracity of spirit and energy, a sense of attack driven by a desire to reignite the spirit. Mystical, athletic, and innovative, the collective energy left audiences energized.[16] Material often combined social commentary with daring movement and acrobatics, and "live music at once primitive and eccentric."[16] Credited with a melding of forms, Contraband's work traversed worlds "of cross-cultural ritual and contemporary punk",[19] creating ritualized performances of sound, movement, and theater. Common Themes
Awards & AccoladesIsadora Duncan Awards (IZZIES):
References1. ^Godfrey, Stephen (16 May 1981). The Child an Unruly Prodigy. The Globe and Mail. 2. ^Welsh, Anne Marie (11 Nov 1993). Dance Team Ecstatic, Not Static. San Diego Union-Tribune. 3. ^Shank, Theodore. 1989. California Performance, Volume 1/San Francisco Bay Area. Claremont, California: Mime Journal, Pomona College Theatre Department. {{ISSN|0145-787X}} 4. ^Hennessy, Keith (Oct 2008). The Experiment Called Contact Improvisation. In Dance. http://www.dancersgroup.org/content/programs/articles/2008/2008October_134.html 5. ^Johnson, Barry (1 Oct 1988). Contraband: Gritty, Authentic Quality. The Oregonian. 6. ^Richardson, Kip (18 Oct 1991). The Ascent of Mann. The Oregonian. 7. ^Welsh, Anne Marie (18 Jan 1992). Contraband's 'Mandala' Soft and Fluid. San Diego Union-Tribune. 8. ^1 2 Gartland Apartments Fire, Dec. 12, 1975 9. ^Parish, Paul (10 Dec 2009). Bringing the Body Electric. Bay Area Reporter. http://ebar.com/arts/art_article.php?sec=dance&article=150 10. ^Contraband too short on drama to have much emotional impact (9 October 1987). San Diego Union-Tribune. 11. ^1 Johnson, Barry. (1 Oct 1988). Contraband: Gritty, Authentic Quality. The Oregonian. 12. ^Supree, Burt. (4 Feb 1987). Be a Man The Village Voice. http://web.mac.com/martarenzi/Site/1992/Entries/2008/9/6_Be_a_Man.html 13. ^Welsh, Anne Marie. (18 Jan 1992). Contraband's Mandala Soft and Fluid. San Diego Union-Tribune. 14. ^Smith, Clyde. (1999). Mandala and the Men's Movement(s). {{cite web |url=http://www.culturalresearch.org/mandala.html |title=Archived copy |accessdate=2011-04-08 |deadurl=yes |archiveurl=https://web.archive.org/web/20110725213651/http://www.culturalresearch.org/mandala.html |archivedate=25 July 2011 |df=dmy-all }} 15. ^(16 Feb 1995). DANCE; Nature of humanity; Contraband unearths spirit of life's cycle. The Boston Herald. 16. ^1 2 Kaufman, Sarah. (20 Oct 1992) Contraband. The Washington Post. 17. ^Richardson, Kip. (18 Oct 1991). The Ascent of Mann. The Oregonian. 18. ^Welsh, Anne Marie. (11 Nov 1993) Dance Team Ecstatic, Not Static. San Diego Union-Tribune. 19. ^Welsh, Anne Marie. (15 June 1996). Rhythm drives dance from mystic to modern. San Diego Union-Tribune. 20. ^1 Hertelendy, Paul. (8 Feb 1994). San Francisco Troupe Accorded Double Honors at Izzies. San Jose Mercury News. External links
3 : Mission District, San Francisco|Dance companies in the United States|Dance in California |
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