MASCALL DANCE.MASCALL DANCE VANCOUVER EAST Vancouver East is a federal electoral district in British Columbia, Canada, that has been represented in the Canadian House of Commons since 1935. For the defunct provincial electoral district of the same name, please see Vancouver East (electoral district). CULTURAL CENTRE, VANCOUVER, CANADA SEPTEMBER 13-20, 1998 In The Brutal Telling: The Emily Carr (December 13, 1871 – March 2, 1945) was a Canadian artist and writer. She was born in Victoria, British Columbia, and moved to San Francisco in 1890 to study art after the death of her parents. Project, Jennifer Mascall has created a rigorous and emotionally direct work based on the life of one of the West Coast's most beloved figures, painter Emily Carr (1871-1945). The interdisciplinary choreography, running at just under an hour and performed as part of Vancouver's fourteenth: annual Fringe Theatre fringe theatre n → teatro experimental fringe theatre n → théâtre m d'avant-garde fringe theatre fringe n Festival, is a roller-coaster ride through Carr's Victorian upbringing, early days as a naive art naive art also called outsider art Work of artists in sophisticated societies who lack or reject formal training. Naive artists, not to be confused with hobbyists, create with the same passion as trained artists but without formal knowledge of methods. student in San Francisco San Francisco (săn frănsĭs`kō), city (1990 pop. 723,959), coextensive with San Francisco co., W Calif., on the tip of a peninsula between the Pacific Ocean and San Francisco Bay, which are connected by the strait known as the Golden , and later days as a domineering dom·i·neer·ing adj. Tending to domineer; overbearing. dom  i·neer landlady landlady n. female of landlord or owner of real property from whom one rents or leases. (See: landlord) with an unusual attachment to a pet monkey. Dancers Marthe Leonard and Olivia Thorvaldson take turns playing Emily and a variety of characters (including Woo, the monkey), aided by Penelope Stella's direction; for the most part, their highly physical characterizations ring true, with only the rhythm of their occasional dialogue slightly forced. There is also recorded text taken from Carr's autobiographical books, and some imagined conversation with the painter. This use of text allows The Brutal Telling to confront head-on Carr's romantic altitude toward the "noble savage," which caused controversy in the earlier part of this decade, when charges of appropriation were laid against her for her paintings of abandoned First Nations villages and soaring totem poles. Veda Hille's pop-jazz CD, Here Is a Picture, a song cycle specially composed for the Mascall Dance project, is a poetic, often direct telling, with lines like "For fifteen years I did not paint!" hurled out painfully. Costume designer Nancy Bryant has the performers add, and then remove, a bustle from a skirt, a coat, ribbons, gloves, or hats over a basic costume of Victorian undergarments, knee pads, and black runners. The look is thus highly serviceable for dancing, evocative of a specific character and period, and theatrically stylish. "Movement is the essence of being," wrote Carr, and the supercharged su·per·charge tr.v. su·per·charged, su·per·charg·ing, su·per·charg·es 1. To increase the power of (an engine, for example), as by fitting with a supercharger. 2. , abstract duet that ends the work is full of the same dynamic lines and flamboyant curves found on her canvases. Leonard and Thorvaldson move with the muscled elegance of the best of today's modern dancers, and the shapes their bodies make are as organic as those found in Carr's painted forests. Yet the way these bodies move from a deep lunge that is all about the earth directly into a jump straight up in the air is breathtaking in a way that belongs only to dance. |
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