"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."
That's probably the best advice to heed before you see Tere O'Connor's Bleed. This work for 11 dancers, and the three separate works that informed it, were all performed in Seattle November 20-23, 2014 at On The Boards and Velocity Dance Center.
Bleed is an abstract, hour-long dance. Choreographer O'Connor told dance writer Melody Datz Hansen of "The Stranger" that he doesn't make work to convey meaning. He wants us, the audience, to experience his dances at the moment we watch them. Somebody described this to me as akin to watching something from another planet; beautiful, but alien. Somebody else told me O'Connor's Bleed felt to him very much like the dance version of what happens on a New York street: constant flow, and change and serendipitous events. A random beauty, if you will.
Movement by movement; moment by moment. That's the frame of mind and body best suited for "Bleed" viewing. I am not much for meditation, but I imagine this to be something like sitting zazen. Bleed wasn't about analysis, or thought. It was about immediacy. I had a rowing coach who always counseled "don't think; FEEL." Get those chakras open wide and be there in the moment. I did my best.
Read the rest at Sillman's blog, And Another Thing...