ANNA WYMAN

CELEBRATING A DECADE OF DANCE

THE ANNA Wyman Dance Theatre celebrated its “Decade of Dance” last week with four popular and highly characteristic selections from their

repertoire.

Anna Wyman “visually conceives’ dance about bodies, matter pushed by energy through space. The bodies are not necessanly human, and this can be the most effective or disenchan- tung element in her com- pany's performances.

Case in point is her 1976 work, “Deflection”. The first offemng of the evening, tt proved to be something of a disappointment “Deflec- on” has members of the company dancing as bodies bouncing off other bodies in vanous combinations. With yageed., non-rhythmic crescendos of music and cold hghting, for such a piece to work requires im- maculate aruuiculation by the

dancers and = good syn- chronization. But they) started cold,

wavered, fell out of synch. and the piece dragged. In- dividual peformances weren't bad, a solo by one of the dancers glowed tn com- parison.

Flawed human _ beings have a hard time producing the clear, physical images Wyman calls for

The one exception was an imtial image of a dancer braced inside a tnangle. or- biting the stage. The dancer communicated all the beauty of the

perfect geometric form reeling in space But the rest of the piece degenerated into increasing

ly confident dancers secing what they could do with large elastic bands Though the end of the work is quite

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clever, with one dancer Straining against an elastic Cage, it was poorly lit, and overshadowed by the fact that the fellow had been kneeling within the cage for the whole dance, looking for all the world like a moustachioed lon in the ZOO.

Things improved con- siderably after the intermis- sion. “Adastra” Wyman's latest conception was her work at its best. Alive with jibbering Martians and bouncing imps, the masked and wonderfully costumed dancers gave a delightful im- pression of ahen bodies in space.

Castor and Pollux. golden twins with star crowns were yust fun to look at, and the handpainted costumes were a spectacle in themselves. But behind the masks the dancers seem more assured in their movements, and no sweaty gnmaces, or huffing hfts marred this visit to a space circus

The final piece, a piece conceived in the theatre group's first year, 1973, 1s an apt summation of the com. panys work Called “Dance Is this and this.” it ts about bodies and other machines that move

Most pleasing was the in credibly old assortment of

broycles that the dancers rode to introduce the unac companied work The dancers proved to be able

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CANADA, played by David Diamond, is swept off its feet by the U.S. (C. Holt Davidson) while the musicians look on (left to right) Pat Keating, Nettie Wild, Karen Darcy, and Reid Campbell on piano in Under the Gun, a disarming

revue which will be part of the Festival of Peacemaking May 25 to June 5 at the Vancouver East Cultural Centre. Performance time will be 8:00 p.m.

mimists as the attention shifted to humans in motion, playing assorted sports. The piece is graced with a sense of humour, and closed the performance on a pleasant note

In the two closing works, the dancers showed that they could: do very good work The women tn particular are excellent dancers. with great strength and expression The

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received loud applause, and as artistic athletes they did eventually

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