Choreography: Dawn Stoppiello, in collaboration with the dancers.
Music, Video: Mark Coniglio
Dancers: Robert Clark, Johanna Levy, Daniel Suominen, Lucia Tong
Lighting Design: Susan Hamburger
Video Assistance: Katrin Jedon
Dramaturgy: Peter C. von Salis
Lush imagery vibrates against funnel clouds of physicality as 100,000 years of human evolution are condensed into Troika Ranch’s evening length dance, theater and media performance 16 [R]evolutions. The work focuses on a single evolutionary path: how the animal drives of our pre-human ancestors have become sublimated to the point of abject confusion and disconnection. In stark contrast to this path, are exquisite three-dimensional visuals that warp and morph in direct response to the dancers movement, becoming more “animal” than the characters on stage. (At one moment the performers dance with delicate, living strands of DNA, at another, a gigantic digital rib cage ripples and breathes as it envelopes their movement.) 16 [R]evolutions asks the question, can we reconnect with our core needs to feed, fight and reproduce while continuing to evolve into beings of light and intellect?
16 [R]evolutions premiered at the Eyebeam Arts & Technology Center in New York on January 18, 2006.
Development Partners:
Essexdance (UK) & The Arts Council England East (UK)
Press Reviews on the World Premiere in New York
The interplay of the four dancers and the virtual environs they manipulate on the back wall is fascinatingly ambiguous, much like society’s attitude itself toward technology. (…)
The cast of dancers, along with Dawn Stoppiello’s powerful choreography and Mark Coniglio’s astounding effects, plumb the depths of this paradox with artful consideration. (…)
16 [R]evolutions is an exciting, innovative breed of performance with all-too-short a run-give your eyes and mind a treat an catch it before the animated lights go dark.
Matthew Trumbull, Nytheatre, 18.01.2006
The magically beautiful universe (dependent also on Joel Sherry’s set design and Susan Hamburger’s lighting) keeps imprisoning and releasing the dancers. The sound is so intimately tied to the visuasl components that you can hardly be sure what’s triggering what.
Deborah Jowitt, Village Voice 23.01.2006
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