Aestheticism ruled the stage, delighting in a great many beautiful sights.
By ORA BRAFMANdance review 88(photo credit: )Tania Perez-Salas Dance Company
(Mexico)
TAPAC
October 30
Tel Aviv Dance hosted choreographer Tania Perez-Salas's dance concoction, which contained a love for dance in its purest form and communicated well with mainstream audiences. Salas has a true sensitivity for spatial composition, and she is aware of lighting options that define space and moving bodies and set an ambiance.
The company's wonderful group of nine dancers was a pleasure to see. Although each dancer had an individual presence onstage, all together they formed a warm ensemble with a free and cohesive perception of movement language.
Aestheticism ruled the stage, delighting in a great many beautiful sights. Salas employed a number of very successful means - though not necessarily unique or original - to create audience-pleasing visual effects, such as an oversized puffed-up silk hoop skirt that harbored three reclining dancers, hanging ropes for an aerial scene, a shallow pool onstage and streaming white sands from above.
Obviously, the choreographer was not looking to redefine the borders of dance, but to carve a personal, non-subversive niche - which she certainly did.
The company opened with The Hours, almost neo-classical in its approach, that relied on fine lines that respond well to Vivaldi's music. Anabiosis, which followed, had a contemporary look with a series of very short scenes that worked like quick flashes of memory. Its captivating rhythms matched its delicately erotic, voyeuristic mood.
In Water of Forgetfulness, Salas used water and sand, which always work extremely well with light. The piece elicited sighs of pleasure as the dancers splashed and moved to the sad notes of the wood flutes.
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