The Source for Media Coverage of The Arts in Miami.
Articles, reviews, previews and features on dance and music performances and events.
Sign Up
No one logged in. Log in

“Baño de Luna,” written and directed by Pulitzer-prize-winning playwright Nilo Cruz and presented by Arca Images and the Miami-Dade County Auditorium, marks the debut of the Spanish-language version of “Bathing in Moonlight,” the original English production that debuted at the prestigious McCarter Theatre Center in Princeton, N.J., in 2016. Performed by a stellar cast in Spanish..

Rafael Nofal’s play “El tiempo de la mandarinas” (“Season for Tangerines”) tackles the very relevant and disturbing theme of human trafficking. Produced by Antiheroes Project, this moving play is in its last week at Artefactus Teatro, a well-purposed black box and gallery space in a smattering of warehouses in Kendall. Nofal’s text removes overt violence and male characters fr..

Joshua Harmon’s savagely funny “Bad Jews” is an emotional cage match set in a pricey Manhattan studio apartment. The combatants are Daphna Feygenbaum (Hannah Benitez), a soon-to-be Vassar grad who plans to move to Israel, marry a man no one in the family has met and become a rabbi, and her cousin Liam Haber (Joseph Paul Pino), a master’s degree candidate and atheist who intends to..

The play begins, as it must, with the velvet voice of Nat King Cole crooning “Mona Lisa.” After all, how many paintings inspire an Oscar-winning song? For that matter, how many masterpieces survive damage, theft and the rapacious covetousness of collectors for more than half a millennium? Leonardo da Vinci’s “La Gioconda,” popularly known as the Mona Lisa, is that inspi..

A casual conversation with a fellow theater artist prompted José Manuel Dominguez, founder and artistic director of Antiheroes Project, to produce the company’s latest piece, “El tiempo de las mandarinas,” (“Season for Tangerines”) by Argentine playwright Rafael Nofal. “I am drawn to themes of memory, dreams, and paradise lost, but for a long time I’ve wanted to do a play based on reality,” sa..

The 32nd International Hispanic Theatre Festival kicks off on Thursday, July 6 with the Mexican company Los Tristes Tigres’ irreverent spin on Shakespeare, “Algo de un tal Shakespeare” (“Something by One Shakespeare”). Founder and director Mario Ernesto Sánchez, the festival’s engine that could and still can, identifies this raucous play as part of the festival’s larger goal of attracting..

Nowadays, it’s tough not to feel worried, paranoid or in need of some escapist relief from the steady flow of oh-no-he-didn’t news out of Washington. Miami playwright Theo Reyna feels your pain. His response is “Firemen Are Rarely Necessary,” a jet-black satire now getting its Mad Cat Theatre Company world premiere at Miami Theater Center’s Sand Box. The play takes intricately aim..

Pearl Cleage’s play “Flyin’ West,” an M Ensemble production currently on stage at the beautiful new performing arts center in Liberty City, the Sandrell Rivers Theatre, is set in humble Nicodemus, Kansas, the only remaining western town established by African Americans during the reconstruction period following the Civil War. Set in 1898, the play focuses on the lives of Sophie (Brandiss ..

Esteban, (http://estebanlapelicula.com/en/) the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician. The challenges seem overwhelming. Esteban and his mother struggle to make ends meet (htt..

Desperate times call for desperate measures. For some, that might mean taking a second or third job. Or robbing a bank. Or moving in with family. For Casey, a straight lip-syncing Elvis impersonator in a Panama City bar, desperation means forsaking the King’s rhinestone-studded jumpsuit for leg hair-hiding pantyhose, fake boobs and big-hair wigs, the better to sell himself as a fa..

Experimental Dance, Music Slowly Pulse Through Three-Day Event


Photo: Myriam Gourfink and musician Kasper Toeplitz
Article Rating

Upcoming this week, Tigertail presents choreographer Myriam Gourfink and musician Kasper Toeplitz. Hailing from France, the two will be present for a 3-day residency at Subtropics’ South Beach venue Audiotheque. Part concert, part workshop, the event invites an immersive experience of Gourfink and Toeplitz’s work.

The event opens on May 22 with a free workshop in Gourfink’s unique approach to dance, “Choreographic Composition Through Yoga.” Next, on May 23, join a conversation with Toeplitz in Subtropics’ The Listening Club, an ongoing discussion about sound and music. And on May 24, hear “Amas,” a sound piece for live electronics originally written as a companion piece to Gourfink’s choreography.

Tigertail director Mary Luft is enthusiastic about bringing Gourfink’s workshop to Miami, because she infuses a fresh and of-the-moment take on contemporary dance. “She is coming from a very different place, highly trained technical dancer but she has chosen to use breath and slowness and intention in her work.”

Describing the duo’s work together, Luft says, “the piece that I saw with his music, it’s a long, long pulse that pulls you into a state and keeps you moving along on that line. And [Myriam] barely moves in her work… it’s very controlled, and uses gravity and breathing throughout.”

We had the opportunity to hear from Gourfink on her approach to movement, music, and creative collaboration.

What is your process of composition or creation?

When composing and writing my choreographic scores, I use abstract processes and data. I sit at my table and I write in a language that I have been developing since 2002. It’s inspired by Laban cinetography, but is aimed at creating, rather than transcribing, a dance already in existence.

What I write for the choreographic composition is constantly evolving, because each piece is structured around a specific environment built on a global vision of the project. I make a collection of concepts that I consider to be connected with my aims, and from those elements I then develop a glossary and then a score.

The composition consists in decoding the information contained in the data collected, the relationships between them, and their possible articulations. It’s all about listening, observing, and trying to understand what is at work inside the environment in place.

How does this translate into movement?

The dancers who read and interpret the scores use the body technique forming the basis of my work, which relies on awareness of the breath, the circulation and the distribution of the body’s weight, and fluidity.

It was the work of Odile Duboc that guided me in my relationship with gravity. I experienced it in terms of a phase of vertical descent by the weight of the body beneath the earth’s crust, then a phase of listening to what travels up from the earth through the body: it’s like a wave, expanding our internal spaces and propelling movement.

How does yoga enter into your work?

In order to examine the body’s spaces in more detail, in 1995 I embarked on an exploration using breath. Yoga helped me to realize the difference between physical respiration and respiration sustained by a thread of breath. It is the latter that has formed the basis of my work ever since.

This approach allows you to become aware of the body as a resonating volume, the perception is not only drawn into the internal space, but also the surrounding space, the body is porous, it is suspended in the air.

A new challenge is then presented, one that consists of being aware of atmospheric pressure while dancing: experiencing that force, letting oneself become air-borne and showing the onlooker to see the means of support. And then instilling the desire to witness the encounter between each cell and each air molecule. The tiny interstices are measured by perception and this gives rise to a dance that extends, diffracts and, according to some, perhaps even slows time.

How would you describe your artistic process when working collaboratively with Kasper on sound?

Kasper will be performing "Amas.” In the frame of my work, music is never an accompaniment—“Amas” is both a dance piece and a concert. Amas is a French word which means ”pile” or ”accumulation,” and creates the verb ”to amass.”

First we talk about the general idea of the piece. And then, each one of us is translating the idea in his own media: music for Kasper, dance for me. [For “Amas”] we together defined the structure, talked about the (abstract) meaning of it, but of course I wrote the choreography (for 8 dancers) and Kasper did the music.

With the dance, the general idea was to reinforce the frontal aspect of the theater; the dance space is right in the middle of the stage. Kasper is playing in the first row in the audience facing the dance space. This desire to reinforce the frontal aspect of the stage is linked with the idea to make visible the use inside the choreographic score of non-classical directions and orientations.

The other idea was a dance slowly evolving (in one hour) from a dance on the floor to a dance standing up, in a 25 square meter area with 8 dancers always changing their position in this area. The aim was to create disproportions by juxtapositions and superimpositions, and to create lines and diagonals at the scale of the group that were changing hypnotically. In is own composition, Kasper says that "the structure of ‘Amas’ is a strange one: it comes from infinity and goes back to it.”

Artist residency with dance workshop and music events; produced by Subtropics; presented by Subtropics and Tigertail Productions. Mon. through Wed., Audiotheque at ArtCenter/South Florida, 924 Lincoln Rd., Miami Beach;workshop and talk free; Wed. music concert $10; for more info, www.tigertail.org.

 



Leave a comment...
Must be Logged in
No one logged in. Log in
Leave a comment...
Was this helpful?
No Very

Captcha Image

About The writer

Cathering Hollingsworth is a dance critic and dancer

..

About the Writer

Not everybody who begins a musical career at age three singing in his grandfather’s Pentecostal Church finds his way to the Metropolitan Opera in New York. Soloman Howard did in two short decades...

Singer-songwriter Tiago Iorc may have been one of Brazil’s best-kept secrets, but the word is getting out. Fresh from appearances in New York, Boston and Orlando, Iorc makes his South Flo..

Gustavo Matamoros’ beard has gone gray, but his passionate promotion of listening as a way of engaging the world remains fresh.Whether bats in the Everglades, shrimp in Biscayne Bay or the no..

Just about now, even as the unsuspecting may be lounging at the beach, classical music is thundering forth in Miami. Our town’s annual eight week Miami Music Festival has begun with its offer..

Talk of weddings can quickly split a friendly gathering into camps of pro and con. Those on the pro side retell the moment when the crying six-year-old ring bearer, stunned by the attention o..

What better way to welcome summer than with a burst of live music? Leave it to the French to come up with the idea. Since 1982, they’ve marked the summer solstice with free concerts and p..

Mexican singer Natalia Lafourcade is as tiny as a house sparrow, with a voice as clean and pure as a bell. These delicate qualities belie a fierce inner strength and a steely artistic will. A..

Melissa Aldana is the first woman instrumentalist and the first South American artist to win jazz’s prestigious Thelonius Monk competition. Which distinction is more important to her? Neither..

Project 305 has a simple aim – crowd-source a Miami symphony. For 100 days from January 31 to May 12 New World Symphony, in collaboration with the Knight Foundation and the M.I.T. Media Lab, ..

El debut de Dimensions Dance Theatre of Miami (DDTM) en noviembre del año pasado fué un acontecimiento artístico y un descubrimiento sumamente agradable. Una sola función en el Miami-Dade Cou..

El festival “Out in the Tropics”, patrocinado por Fundarte en conjunto con el Centro Cultural Español y el Miami Book Fair International, normalmente trae artistas del mundo LGBTQ e hispanoha..

La Gala anual de Cuban Classical Ballet of Miami (CCBM) es un evento que esperan con ansiedad los aficionados al ballet en Miami y, sobre todo, los admiradores del estilo cubano. Desde su deb..

El 11 y 12 de mayo próximo tendrá lugar en el Miami -Dade County Auditorium el estreno en Estados Unidos de Scrutiny: The World Gone Astray(en español,Escrutinio: El mundo se ha ido a la deri..

Para el pianista y compositor cubano Omar Sosa la noción de una cultura global, sin fronteras, no es un concepto abstracto sino un tema personal. En su música, elementos de hip hop y rumba, ..

No hay que viajar a otro país para disfrutar en vivo de la música cubana del momento, la más innovadora, la que le da la vuelta al mundo. Basta con asistir a Global Cuba Fest, aquí mismo, en ..

Nadie como el bailarín y coreógrafo español Antonio Gades para describir el arte que lo hizo internacionalmente famoso cuando vivía: “Un extracto de fuego y de veneno, eso es el flamenco”. ..

Desde Las troyanas de Eurípides hasta “Guernica” de Picasso, o de la canción “Blowing in the Wind” de Bob Dylan al diseño de las gorras rosadas que llevaron miles de mujeres en las protestas ..

En un discurso de 1977, el escritor argentino Jorge Luis Borges desmintió la idea de que la ceguera fuera un mundo de oscuridad cuando describió su propia “modesta ceguera”. Hablaba de ciert..