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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (March 2, 2001)
march 2.2Û01 » jMSt ML33 ▼ Putting their heads together Two Portland treasures meditate on friendship by A key element of artistic genius is the abili ty to find inspiration in things the rest of us overlook. Composer Thomas Lauderdale and choreographer James Canfield have created a ballet inspired by a chapter from Bambi. Yes, Bambi, the children’s story about the deer. But if the source suggests something frivo lous or campy, the actual work turns out to be quite different: a poignant, lyrical dance/medi- tation on the serious themes of mortality and friendship. And there are no deer in it. The world premiere of Leaves Pas de Deux is the centerpiece of James Canfield Signatures, an evening of dance featuring work by Oregon Ballet Theatre’s artistic director. Leaves is an excerpt of a larger work he and Lauderdale are planning: a full-length ballet based on Bambi. The German book, written in 1923, is far more poetic than the Disneyfied version most of us know, as shown by the chapter Leaves is based on. In it, two leaves express their fears as they cling to their branch in late autumn. A ndy S imon • photos by Lauderdale is well-known in Portland and beyond as a composer, concert pianist and leader of Pink Martini. The music he wrote for the piece is wistful and transparent—impressionistic in the style of Satie or Ravel. He will perform it live, joined by Pansy Chang playing cello. “It’s not easy choreographing for inanimate objects,” Canfield says, noting the particular challenge Leaves presented him. ___ Animals move, and he knows how to imitate their motions, but inanimate objects don’t move, at least not on their own. By watching, both in nature and in films, how the wind moves leaves, Canfield recognized that they retain a kind of suppleness until after they fall. That suppleness became a theme in his choreography for the piece. Leaves will be danced by two men. A pas de deux often has romantic and erotic dimensions. Does that make Leaves a gay work? No, Canfield says. In the past, he has created dances that are gay because James they deal explicitly with gay issues, but that’s not his intent with Leaves. He acknowledges that it is possible to see a sexual element in the dance regardless of gen der: “A man and a woman, two women, any combination can be seen as sexy. A woman dressed in a leotard standing alone in the mid dle of a stage can be sexy.” But while sex may be present as an undercurrent, it is not the point of Leaves. The dance is about a friendship more than M arty D avis about a romantic relationship. Canfield’s intent is to portray an equality of support between the two characters in the face of a shared fate. There might be a kind of love between them, but the work is not a love duet. Lauderdale, who is not shy about proclaim ing his gayness, resists labeling this piece. “I’m gay,” he says, “but it isn’t.” He quotes John Waters: “Being gay is not enough.” He argues that the arts are moving beyond identity politics. He thinks part of the goal of Canfield (left) confers with Thomas Lauderdale art is to exceed expectations, and that means breaking down categories. He adds that in Leaves the gender of the dancers is not a given of the text. In the Ger man version of Bambi the leaves have no gen der identity. In the English translation, one is identified as female, but gender of the other is not speci fied. Canfield notes that he chose two men for the roles because he finds a certain kind of grace and strength in male dancers that he felt was needed to carry the emotional drama of the piece. Leaves is the middle of the three works by Canfield that make up Signatures. The program opens with Degas Impressions, a classical piece inspired by the famous paintings of ballerinas. It is one of Oregon Ballet Theatre’s most popu lar repertory works. Canfield is excited about the fact that the first two works of the program feature live music. Degas Impressions will be danced to music by Chopin arranged for piano and violin. “Live music adds a lot,” Canfield says. “Every performance becomes a new collabora tion. Something new happens every time.” Completing the program is GRAPHIC, Canfields newest major work. It was inspired by the dancers themselves and exhibits both the technique and artistry that have made Oregon Ballet Theatre a much- admired dance company. Canfield uses phrases like “in-your- face energy” and “edgy athleticism” to describe it. He hopes it will get the audience to open their eyes if not raise their eyebrows. The entire program is designed to showcase the strengths of the Oregon Ballet Theatre’s dancers. Degas Impres sions highlights the women in the com pany in a classical setting. Leaves is contemporary but uses traditional forms to express strong emotions. GRAPHIC is a leap from tradition into the present moment. Canfield hopes the program will convey some of the excitement he feels about dance and give the audience some thing to think and talk about. JM J ames C anfield S ignatures will be per- farmed March 3, 4, 8, 9 and 10 at Keller Audito rium. For ticket information call 503-222-5538. A ndy S imon is a Portland teacher and free lance writer. >«'•••• ::T: juMOix Restaurant ▼ Retail Join the Biend eclectic food, wine & furnishings Entree w/ purchase of equal or greater value RESTAURANT a BAR Reservation.' ei Coupon,' Required 2000 NE 40th 503/460-2682 (2 blckt North of Sondy) Private partiel <£ catering available An Eclectic Menu Ranging from Italian to Thai
