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RoseAnne Spradlin has a knack for placing dancers and audience members in close quarters. For a while in downtown dance, this sort of intimacy was the new black. Choreographers moved the audience closer to the stage, limited the seating and favored a deadpan display of body parts.
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The production features a narrow, elevated platform that is painted with thick brushstrokes and raises the stage more than a foot off the floor. The setting transforms the way the audience, seated mere inches away on three sides, sees the dance. Instead of looking straight or down, we look up. The dancers don’t only dominate the space, they also dominate us.
Rebecca Serrell Cyr, naked and strumming a guitar, sits on the edge of the stage as the audience files in. As a recorded instrumental version of Burt Bacharach’s “Don’ wedding dresses ;t Make Me Over” plays, she pulls on armor in the form of a silver beaded headdress and a shoulder harness bridesmaids , by Sera-Kim Huenergard.
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All the while, they stare, not at an invisible horizon, but at themselves. Hanging on three sides of the space’s white brick walls are mirrors of varying sizes. The effect is sinister. Knitted into the choreography is a hint at how powerfully a gaze can erode an energetic force — turning it into, as the title goes, something else.
A penetrating gaze is also the subject of another artist’s work at the Chocolate Factory. “Before and After the Performance,” a series of photographs by Ryutaro Mishima, showcases five dancers — Christopher Williams, Renée Archibald, Alex Escalante, Christalyn Wright and Hilary Clark — black party dresses black party dresses in moments before they entered and just after they exited the stage. The “before” images hang in the lobby in advance of “beginning of something,” and after the show, the “after” portraits hang in their place. At first, the changes are subtle, but they take on more resonance the longer you stare. It creates a strange effect. Suddenly the spirit of performance is embedded in their skin.
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