Tuesday, April 28, 2009

Claudia La Rocco says she became a dance critic because someone asked her to write a dance review and that her record of "humiliating myself in international print and online" is still out there available on google; the point being that if she can't escape it, at least she's not adding to it.
Concert hall flamenco requires a particularly tricky suspension of disbelief. Much of the form’s theatrical currency depends on the strong, raw emotions that threaten to unhinge the performers even as they promise to transfix the audience. To be transfixed, of course, the audience must disregard that these great, ungovernable passions are summoned on demand, night after night and sometimes twice daily.

Otherwise, what often remains is only the lesser art of melodrama, whether cloying or amusing — except in those rare, astonishing occasions when the explosion of actual emotion surprises everyone in the room, performers included
A dancer is not a method actor. She doesn't ask "What's my motivation?" she asks "Where does my arm go?" That holds double for any rigorously formal folk tradition. Two relevant posts here and here Or use the search bar above and search for "sincerity" and "formalism."
Folk traditions devolve into melodrama when pop modernizers soften them up.

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