Alice Kaderlan breaks down BLEED at the Seattle Times:
One of the greatest challenges for a choreographer is knowing how long a dance should be. The current trend to hourlong non-narrative works performed without intermission can sometimes strain a viewer’s attention with unnecessary repetitions and lack of coherence.
In “BLEED,” prominent American choreographer Tere O’Connor has succeeded in creating a riveting ensemble piece that never flags over its 60 minutes. From an opening solo by Heather Olson to a final group tableau, “BLEED” provides a fascinating exploration of the interactions among human bodies in motion.
One of O’Connor’s greatest talents is in interweaving his 11 talented dancers into ever-changing patterns. Sometimes they form a daisy chain as though making a human braid, sometimes they run or jump in unison and sometimes they do...
Melody Datz Hansen at The Stranger interviews choreographer Tere O'Connor:
What is it about Seattle that made this the place for you to present these four pieces?
Seattle is one of the main cities in America that has a dance scene—it’s a destination dance city. The reception here has been great, we had 40 thoughtful people at the workshop and 20 people with some really interesting questions at Monday’s book club.
Are you tired of people bringing up the Joan Acocella letter?
No. It was just one electrified part of something I’m continually engaged in and many dance writers have no expertise in dance. I want to challenge that because we try to articulate what our work is and [critics’] responses come from their own preexisting hierarchies and lack of understanding of the goals of the artists. We are so...
by Rachael Ferguson
In a one hour session I was treated with BLEED by Tere O’Connor last night. I was reminded that the body communicates constantly. There were moments of stillness and waiting. I can see the dancers’ eyes looking at each other and silently communicating. The tension grew to impetus and that’s when movement erupted. Even at rest the bodies are telling me something – whether they’re sleeping, stunned, actively seeking comfort… the bodies won’t stop talking. The smallest gestures of the piece spoke the loudest like a turn of the head. A gentle nodding from one dancer to another across the floor. These things we deem subtle but they trump words. And I do mean words and not sound.
The sound used in BLEED was precise and startling. The dancers weren’t linked to music time. From what I observed, the dancers were linked to each other and each other’s actions. And when an audible broke the silence of that world it did a few things like...
by Dani Tirrell
A large black box stage, simple but effective light design, no props, no video and no set design allowed my senses to become open to Tere O’Connor’s Bleed. It was a joy to witness dancers move with an empty stage as their playground. The dancers became the set, the video, the props and at times the sound score. Bleed is a dance about memory of previous choreographed works by Mr. O’Connor (You still have a chance to see his works poem, Secret Mary and Sister, Friday through Sunday at On the Boards and Velocity Dance Center).
The ensemble of eleven dancers invaded the stage with grace, love, balance and unbalance. Through the ensemble work, the solos, duets, trios and quartets each dancer commanded the stage with vigor and reckless abandon. One of my highlights were seeing the dancers rub their hands together vigorously then rub the heat of that action over their face and arms. This simple gesture allowed me to sense what was and what is to come.
Bleed was filled...
by Dylan Ward
I guess I should start this blog post by saying that I had to look up the word egalitarian to make sure I was using it correctly when talking about this weekend's show.
I was, I think; according to Google the meaning is:
"of, relating to, or believing in the principle that all people are equal and deserve equal rights and opportunities."
(yes, I am starting a blog post with a word definition like an asshole)
But the thing is: I have this immediate sort of teenage response to "egalitarian art", as though a teenager is whining "I knowwwww, I know we are all equal I know I get it I knowwww."...
Please note that there is no late seating for the Tere O'Connor performances Nov 20 - 22 at OtB. Additionally, please be aware of the events in the area such as the Key Arena, as well as the on-going traffic along the Mercer Street Corridor.
We hope to see you at the show -
Melody Datz Hansen at The Stranger breaks down the beautiful ambiguity of Tere O'Connor's work:
Choreographer Tere O'Connor doesn't want to tell you a goddamn story. Unlike in traditional ballets or more contemporary dance polemics, he doesn't afford his audiences the safety net of preordained plots or moods. His choreography is not trying to communicate some line of argument or point of view, nor are there messages to glean from his dancers' movements. Instead, O'Connor gives the viewers the opportunity—the challenge—to simply watch bodies in motion. His work is experimental, but it's not an abstraction of something else. It is concrete without being literal.
"Dance is sometimes seen as something ambiguous and mysterious that some people...
Thomas May talks with choreographer Tere O'Connor at City Arts Magazine:
“It bothers me when I hear people say, ‘I didn't get it,’ because I think dance launches its own critique of this need people have to ‘get’ anything,” O’Connor remarks. “I think people are absolutely intelligent and don’t need to have things simplified. For me dance is experiential. What I do in a work is to set up a network of information for the viewer to project their stories. This is realistically closer to the way consciousness works. The way that your thoughts move in and out of your head is not rational, even if our society tells us our consciousness has to be directed toward a product or a certainty.”
Think of an afternoon sitting on a...