Last Friday, Jenny's company, Backhausdance, had its premiere at the John Anson Ford Theatre in LA. It was a great crowd and a wonderful program. The center piece, "Shift - Sink/Push/March/Float," is described as: "...a dance in four sections exploring our desire to lift and support each other, both physically and emotionally."
The pas de deux (couple's dance) in the "Push" section literally made me weep.
I find that in so many p-d-d's, the dancers feign cheerful, unabated adoration for one another, or engage in exaggerated romantic pursuits (boy chases girl, girl chases boy, they end up happily ever after, usually with some supported pirouettes). In other, "darker" pieces, the tone may be more somber, yet the mechanics are essentially the same.
In "Push," the relationship is... complex.
The featured dancers, Andrea Brache and William Lu, performed amazing acts of physicality and grace, but more than that, they achieved an extraordinary level of connection as they continuously intertwined to Zoe Keating's rich and languorous score. There were no sequins or flashy costumes; in fact, their simple clothes were flesh-colored, as if to reinforce the naked humanity underlying the piece (the other dancers, who performed in the other 3 sections of "Shift" also were costumed in a muted color palette).
In "Push," the relationship is... real.
This was not a happy-happy, hand-holding-and-skipping-to-the-joys-of-life-and-love piece. No showboating common in conventional p-d-d's ("you do some fouettes, then I'll do a bunch of piros, then we'll each do big jumps, criss-crossing the stage"). Those are fun and lighthearted, but they are fantasy.
Here, Andrea and William danced individually yet continually in relationship to one another. It was so bittersweet to watch the dancers interact -- even dancing as a single unit, there was a sense of their individuality. Connection, disconnection, reconnection, opposition and synchrony.
In "Push," the relationship is... honest.
At points, one physically supported the other, tenderly cradling their head or making it possible for them to continue (including the girl carrying the boy in a prolonged lift). At points the choreography made me think of disassociation - of supporting out of obligation rather from intentional choice - but reciprocity and re-engagement always re-emerged.
For me, "Push" so completely captures our dance through life. There are times we stand alone, yet we are never really alone. At times, we have to prop one another up. Occasionally we're the one who's leaning more heavily, and sometimes we are dragging (pushing?) the other to keep (them or ourselves) going. And sometimes, we have to let go entirely, believing there is someone who will to catch us when we fall.
