 |
 |
 |
|||||
|
| ABOUT TRaC |
MultiTRaC Fall 2004
La Maquina del Tiempo La Maquina del Tiempo or The Time Machine, is a dance piece being performed at Dance Theater Workshop. It is an improvisational piece by choreographer Merian Soto, renowned for her previous works. This fantastic piece combines the creator's Latin background and love of jazz music to create a wonderfully spectacular and refreshingly unorthodox work of dance theater. The way that the dancers express themselves, combined with the scenery, music and originality, makes for a truly wonderful experience. Scenery and lighting play a huge part in this performance. The first half, titled "The Art of Improvisation," starts off in what seems to be an old dance studio. A man comes out and sits on the bench of an old piano and begins to play as a woman lies sleeping in the background across a row of chairs. Reminiscent of an old black and white film, lights flicker on the man as he's playing, making his movements seem jerky and mechanical, as if he is being willed to move by the unseen cranking of a movie projector. An original and visually wonderful opening scene, the man plays a jazz piece that yet again harks back to the theme from the old glory days of the classic Hollywood movie stars. Toward the end of the piece, the music becomes more salsa-like as a faux sunrise takes place, shedding light on the homey yet worn down dance studio. This trend of visually unique scenery continues on to the second half, as does the trend of music that plays along wonderfully with the movement. The second half of the performance, "Paradise Revue," is appropriately titled. Shifting its surroundings from the rag-tag studio to a palm tree-lined club paradise, the voyage through time marches on. The music and surroundings continue to integrate seamlessly, playing off each other in such a way as to draw you into the world of the dancers, making you feel as if you really are on that island or in that fancy world of night clubs, where the pianist politely and humbly bows at every applause. The most important part of this performance, even more than the scenery and lighting, are the dancers themselves. Given the chance to express themselves freely through improvisation, the dancers seem to pour their very being into every movement, step and jump. Each dance seems to be a story in itself. This can be seen clearly in the first half, in Noemi Segarra's first solo. She plays out the perfect story of lust and seduction as she flails her arms in the air, and finds herself being uncontrollably lured in by the resonating bass. Her combination of movements and expressions clearly and artfully relate choreographer Soto's feelings and emotions. In the second half, we see yet another brilliant solo, this time by Marion Ramirez. She plays the role of a rebellious music box marionette, who sheds her stiff uniform of crown and tutu to become the silhouette of a woman sitting unclothed behind the shaded window of her sweltering apartment in Spanish Harlem. Although she is hidden behind an illuminated screen, Marion is able to perfectly display the feeling of rebellion and free spirit. Not to be outdone by his fellow dancers, performer Pablo Amores also brings his unique style of dancing to his pieces. He manages to add a piece of himself to every step and movement he takes, adding a fantastic street dance flavor to the already rich salsa taste. Together, it is the dancing of the performers, which is the same yet totally different, that makes La Maquina del Tiempo a feast for the eyes. La Maquina del Tiempo is a wonderful display of Soto's ability to take two or more completely different things and create something spectacular. Through lighting, scenery, wonderful music and choreography, Merian Soto has created a brilliant piece of dance theater. Although a bit more sensual than some are comfortable with at times, one should not allow this to get in the way of one's ability to take in the value of the piece. It is a delight to view, from the dancers to the set, and is definitely something to behold.
|
|
