In our dull daily lives, we crave something beyond.
To feel connected: Numbing ourselves in a crowd, we lose our inhibitions, our doubts and insecurities. To push boundaries: Clubs, drugs, alcohol. Time stands still for a moment. The experience is intense. Nothing can stop us. Somewhere deep inside we adore the feeling of invincibility.
To follow the lure of glamor: Glamor is success, success is happiness.
But is it true? Does it work?
Or do we merely numb ourselves to who we are, to what we really stand and struggle for?
Ochoa has an eye for turning human gesture into dance: at one moment, the dancers circle, each reaching out and slowly tracing a line down the back of the dancer in front — it’s an attempt at connection with deniable plausibility.
Michael von Baker, The Sunbreak
Five dancers — Postlewaite, Andrew Bartee, Jim Kent, Tory Peil and Lara Seefeldt — shuttle between two realms: one where mirror-ball and strobe effects make everyone look magically animated, another where ghastly, drained light suggests hedonism isn’t an indefinitely sustainable activity.
Michael Upchurch, Seattle Times
The work’s structure is adroit at starting with a few motifs that look like club dancing, expanding out into a variety of complex and interdependent constructions, collapsing back into the motifs that now have added mean, and repeating this process.
Christin Call, Seattle Dances
January 18, 2013
Cornish Playhouse at Seattle Center
Annabelle Lopez Ochoa
Olafur Arnalds, Max Richter, Scanner, additional soundscape by Wim Selles
Aviad Arik Herman