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"What Does it All Mean?" - Marcie Sillman on Tere O'Connor Nov 24, 2014

Arts reviewer/journalist Marcie Sillman on O'Connor's BLEED at And Another Thing...

A few years ago, my friend Christopher let me in on his approach to contemporary art.

"Just sit down in our seat," he instructed, "take a breath and open all your chakras to what you're about to experience."

 Indeed.

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My Time with BLEED Nov 21, 2014

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.

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BLEED by Tere O'Connor Nov 21, 2014

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).

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Stuff in a Row Nov 21, 2014

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."

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"Why is it assumed that I'm looking for meaning?" - Tere O'Connor on choreography Nov 19, 2014

Melody Datz Hansen at The Stranger breaks down the beautiful ambiguity of Tere O'Connor's work:

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