Boats Leaving | The Bench Quartet | Rise
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Doug Varone and Dancers (USA): Boats Leaving | The Bench Quartet | Rise


Boats Leaving
Boats Leaving was created in 2006 and it was set against Arvo Part’s choral work, Te Deum. The task was creating a dance journey that felt personal to each viewer. Many people are convinced that Boats Leaving is about death, and while I will not certify that this is true I can say that it is about the departures that we all experience in life.

The Bench Quartet
The Bench Quartet was commissioned by the Martha Graham Dance Company in 2013 as a contemporary response to Graham’s iconic 1930 solo, Lamentation. In creating a response to that work I chose to discover aspects of the original ways that both embraced the work, and pushed it away. In choosing Ravel’s Gaspard de la Nuit, I found an aural companion for my imagination.

Rise
Inspired by John Adam’s score, Fearful Symmetries to which it is set, Rise was created in 1993 and has remained a vital part of our repertory. Adam’s sweeping cinematic score includes hints of 1960’s social dances (Pony, Fruge) and within the dance vocabulary explored, you can see elements of these dances throughout. Throughout the 30 minute dance, solos, duets and small groups spill across the stage in groupings that feel both controlled and chaotic in their visuals.

Előadók / Performed by Hollis Bartlett, Xan Burley, Julia Burrer, Casey Loomis, Alex Springer, Eddie Taketa, Hsiao-Jou Tang, Brandon Welch

Boats Leaving
Zene / Music by Arvo Pärt Te Deum
Fényterv / Lighting design by Jane Cox
Jelmez terv / Costume design Liz Prince
Koreográfus / Choreographed by Doug Varone

The Bench Quartet
Zene / Music Maurice Ravel, Gaspard de la Nuit #2
Fényterv / Lighting design by Dan Feith and Doug Varone
Jelmez terv / Costume design by Liz Prince
Koreográfus / Choreographed by Doug Varone

Rise
Zene / Music by John Adams, Fearful Symmetries
Fényterv / Lighting design by David Ferri
Jelmez terv / Costume design by Lynne Steincamp
Koreográfus / Choreographed by Doug Varone

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