I want to be a Dorfman. There, I said it.
And not just because they sang Happy Birthday to me at midnight on my 25th, and then again in class a few hours later…although, that definitely didn’t hurt the case…
In the meantime however, I’ll have to settle for being a Dorfable (Get it? Like, the Isadorables…I’m a Dorfable…whatever…)
David Dorfman Dance took over the department last week, teaching various technique classes, participating in a few round-table discussions, and presenting their most recent work, Come, and Back Again.
Given the fact that I have a not-so secret crush on Mr. Oklahoma (the self-proclaimed [and I quote] “…perfect combination of all the Golden Girls”) and Kendra Portier (see her here as #2), I sort of knew before the week even started that I would love this company’s residency. (And now I love Raja and Whitney too!)
(You should also know that I did end up telling Kendra in person – over wine and cheese – that I loved her…that sort of sounded way more romantic than it actually was…kind of…)
Anyways…to be honest, I wasn’t too familiar with the history of the company, having only ever seen one or two video recordings of the same few pieces—so I didn’t actually know what to expect from their new work. (Lay off me, I’m still sort of new to this world of concert dance…) I did however have a pretty good feel for their aesthetic, as Mr. Oklahoma is one of Brockport’s own—and I recently had the pleasure of performing in his latest show, which was as we all know by now, an experience that I loved with my whole heart. I’ve also taken class from a few former Dorfables (see #5 here), and have yet to leave any Dorfman-related experience uninspired.
I’m not mad.
So let’s just get it out there (once again), not only do I lust for DDD, but I love DDD. Do you hear me, David Dorfman Dance? I love you. I will never
not know the history of your company ever again, pinky promise.
Ok, sorry…back on track…every moment of this performance was alive; the vigorous movement vocabulary shared by all of the dancers, even David Dorfman himself, was executed with incredible confidence and ease. It was evident in their performance both on the stage and in the studio that each dancer has an unwavering sense of self – this was extremely humbling to witness.
The “point of aliveness” is where this company’s work lives; that point where none of life’s little variables actually matter—but where you must take action NOW to stay alive…yeah, that’s what David Dorfman Dance does best. David gave the following example (a rough quote) when describing this particular quality: You don’t slow down to put your fancies on when your house is on fire, you get your tush out of that house regardless of what your hair looks like! Now MOVE!!!
There was such honesty within each dancers’ performance, as so much of their work relies on not only a shared experience with one another, but with a million other aspects incorporated into the production as well. Somehow Mr. Dorfman managed to integrate various multi-media sources, live sound, text, and props (including a little paper doggy) into this one show, and it all worked.
Talk about interdisciplinary collaboration.
I can say with full confidence that this was one of the few times I’ve witnessed a work with text that hasn’t totally pulled me out of the performance; it was actually incredibly moving, leaving many of us (myself included) a little misty-eyed…dangit. There was something about hearing the dancers call each other by name that really allowed me to buy into this world of (eventual) mortality, a reality that we will all inevitably face at some point in time—their experience just seemed so genuine (all because of a little name calling, I presume). Oddly enough, this specific world – despite a death’ish tone – looked sort of fun…is that weird?
I often find myself getting so wrapped up in the experience of any company that visits for a residency, and I always convince myself that I want to be part of it, even if I know it’s not for me (…slut). But like I mentioned earlier, I still feel sort of new to this world of concert dance, and somewhat naive to what and who’s out there making work with a value set that aligns with my own. I can honestly say now however (as I may have indicated once or twice), that this company is what I want my future to look like.
I want to be affiliated with a group of people who values learning every person’s name in the room within ten minutes of starting a master class, that has managed to find the balance between athleticism and grace, virtuosic and ordinary, but most importantly – a company that creates work with an agenda that matters. David Dorfman Dance doesn’t shy away from the politics of dance performance, and I love that they never apologize for having an opinion.
Sorry I’m not sorry. Now go do your homework, and check out their website.