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Show DANCE continued from page R9 "We've been doing fairy tale and story ballets because that's what we ve had grants for," she said, "and I wanted to work on some- thing different." Graduate student Annri Opitz U career m finishes her seven-yeashe premieres her May, and here new piece,"Spint of the Drums." r numThe largely rhythm-driveber features the Raijin Taiko drum circle performing live on the stage behind the dancers. In another unconventional move, the stage wings are visible, making the offstage dancers visible. "I wanted a more relaxed, less classical stage environment," she said. Opitz looks forward to choreographing for companies after she completes her work at the U. Tong Wang, a principal dancer at Ballet West, choreographed "Folk Dances," which premieres in "Ballet Ensemble." Men and coswomen in different-coloretheir accent which tumes, bodily forms, dance to rhythmic noises, such as water splashing and babies crying. Bonnie Story, who teaches jazz dance classes, choreographed "de trop," which features dancers dressed as disgruntled teenagers n d and are accompanied by Radiohead music. The movements are rather unconventional for a ballet ensemble. The title, 1 believe, is a reference to Cole Porter's "You're the Top." While many of the pieces are premieres, department chairwoman Carol Iwasaki's "Defune" is 20 years old. The piece, whose title translates to"Ship Leaving Harbor," is about Iwasaki coming to terms with her heritage while acknowledging that she's an American. "(Because I OPENING THIS WEEKEND LAN YU continued ftorn page RIO world is in turmoil, and he's learning how to enjoy life, something white people don't often do. "Bringing Dawn the House" Touchstone Pictures and the anonymously written Betjing Story, the Internet-release- novel on which the film is based, probably isn't incredibly intriguing. But Kwan's film is just as much about how it is made as what it is about. Kwan's direction uses long, moody, carefully ht takes that are abruptly interrupted when the editing jumps to an awkward angle. Hadong's mirrored reflection appears constantly, signaling reversals in his character. The awkward cuts aren't mistakes by the experienced Kwan, but intentional indicators of the characters' psyches. The film's abrupt turn at the end comes out of nowhere, but serves as a comment on the importance of enjoying love. Casual film viewers will probably find the simple story hard to sit through, even at the running length, and might not enjoy the obstacle of catching story events through oblique dialogue. But film buffs will enjoy Kwan's poetic style and will hopefully be able to explain what happened to their friends after it's over. look Japanese,) people would always ask me who am and where I came from. But I was born here," she said. The piece is about her ancestors coming to the United States and becoming citizens. It features traditional Japanese fans used as props, and a male dancer representing the United States. Iwasaki debuted her piece when she was a graduate student at the U. Who knows where these students will be in 20 years? 1 "Ballet Ensemble" will be performed at 7:30 p.m. in the Us Marriott Center for Dance. To obtain tickets, go to an ArtTix outlet, call 355ARTS or use the magic of the Internet at www.arttix.org Note: RED's Megan Matthes, who would normally cover this, is in the production! te jeremyred-mag.co- jeremyGPred-ma- Rated (Not reviewed) Steve Martin plays a divorced lawyer whose world turns upside down when he meets, gasp a black woman. Queen Latifa plays the wacky woman he meets on the Internet. Next thing you know, his PG-1- d 3 lanYu" 3 reels See review "Tears of the Sun" 3 reels See review BOWLING FOR COLUMBINE (2:15) 9:30 ! Oji (1:00) (5:00) 8:00 11:00 X:.:. rV, tl l FV: I IVJ lilEll . - 1 IM ft 4 com g FLESH continued from page R9 help but feel slightly weirded out by the paintings and just a little uncomfortable with the fact that some of the "flesh" looked like it was dying, yet still moving. The ambiguity of the exhibit is what helps the paintings come alive. The title arouses feelings of discomfort, but it is new and different and makes the viewer want to stay and keep looking. In the exhibit press release, the artist says that "flesh portrayed in this way free and open to the public disassociated from its context, truly becomes 'figural' in much the same way that poetry is figural." The of flesh from the body is the stimulant for discomfort. The landscapes are most certainly not your typical landscapes. There are no trees, no fields, only weird hills of flesh that seem to drift through the paintings. The images are abstract in the way that they are portrayals of certain objects. They are beautifully strange and decidedly creepy. Williams has most certainly brought forth new ideas to art. The landscapes are not attractive to look at because they are constructed through oil, out of human flesh. Unless you are a huge fan of human flesh, the images project a grotesque and almost cannibalistic quality. That is the art behind this exhibit. Through their sickening strangeness, the paintings draw the viewers in and force them to stay and look awhile. They reveal the ability of the artist to successfully blend colors and form nice folds. Perhaps the scariest aspect of this exhibit is the demented ideas that it arouses within the viewers. The art is weird, it is kind of gross, but it is definitely interesting and deserves to be looked at. Williams may be wishing to send a beautiful message through her fleshy landscapes, I don't know. I am not sure if I understood the message, but I do know that just thinking about the images still freaks me out a little and that alone is reason enough to go back. The exhibit wilt run until April u, 2003 at the Art Barn in Reservoir Park, 132s E. 100 South. Admission is free. autumnredmag.com J? Mcfl5 f 2008 11, 'L hv ed ft I Tl Kf ) 1 vL tj r-- v. L V fMfj the Clumber 'lls't' ,S,H :'aV f Salt Lake City r f A 11 c mm,. Ml-- ' VL.il TICKETS tf; 1 v-- " i(fh ss vL " 4f TDTTDvx 77V . Seon Spi"r: Joyc TlM Qi fe 1 im VMMM . ; , Rtc r.i.(l iu fwmi. Ilitt firm . mm. S1 I IMHI II RED Magazine march 6, 2003 Rji |