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Show Stance SpecSacuIas' tmmi KtexH Week of universal truth or of the nature and nobility of man? Modern dance, as practiced in its many rurms vy i.c(reiiui isaui;e Theatre, can be all these things, (Continued on Page 12) By MARK WOODWORTH Chronicle Staff Writer What is modern dance? Is it sexy or serio-comic, sublime or merely supernatural? Can you find happiness hap-piness at a modern dance concert? Answers to the above may be ' X V ' - I ' i " aCt' ' '' found at Repertory Dance Treatre's opening concert of the season, Friday Fri-day and Saturday, Oct. 6 and 7, at 8:30, in Kingsbury Hall. Student tickets are half-priced, and a matinee mati-nee will be given Saturday at 2. Dance Theatre's offering is first of a season of eleven productions to be offered by the Department of Ballet and Modern Dance. Programs Pro-grams to follow will be presented toy the Utah Civic Ballet, and by Orchesis (national dance fraternity), frater-nity), neither of which is connected to Dance Theatre which retains its autonomy as a privately endowed, professional performing company. To settle on a single question What is modern dance? Is it a gaggle of grotesquely camoflaged bodies slithering-sliding along the floor to the sound of Greek chants played backwards, interspersed with ear - piercing blasts of musique concrete or elec-tronique? elec-tronique? Is it a lyric and moving celebration celebra-tion of things human, expressive of the joy of being alive, perchance in love, or the delivious pleasure of running barefoot through a willowy spring morning, dressed in smiles. Is modern dance dedicated to orgiastic Dionysiac delight, or to the Apollonian aesthetic imperatives impera-tives of beauty and restraint; to music dissonant or divine; to abstraction ab-straction in search of mind-blowing infinity or to concretion in pursuit Kay Clark, Rick Rousell, and Joan M. Butler rehearse scene from "Canticle," choregraphed by Shirley Ririe. The three dancers are members of the Repertory Dance Theatre, which is setting a concert for next weekend. Repertory Dancers To Premiere (Continued from Page 10) and frequently is. 'But the hall-carks hall-carks of this fine, one-year-old company seem to be: I Utter professionalism in all aspects of performance and production; pro-duction; Creative expansion of the possibilities pos-sibilities of the human body, and profound courage in its intimate use; Sincere exploration of space and time, rhythm and sound, for the formation of artistic ideas. Poetic sensitivity in seeking expression of the life experience through kinesthetic metaphors. The program includes roughly half-a-dozen pieces, some new, some from the traditional repertoire of modern dance. One of the latter, lat-ter, by the internationally famed Jose Limon, is set to the baroque music of Vivaldi's "Concerto Gros-so." Gros-so." Another number from an earlier ear-lier season is titled "Recurrencies," music by Ned Rorem (former University Uni-versity composer-in-residence), to choreography by Joan Woodbury, Artistic Director of Repertory Dance Theatre. One of the highlights of the forthcoming concert may well be the premiere of Phillip Keeler's "Danse Intime," set to Stravinsky's "Concerto for Piano and Wind Orchestra." Keeler, instructor in the ballet department and formerly principal dancer with the Utah Civic Ballet, has demonstrated considerable con-siderable choregraphic talent in past works, |
