Since 2004 Circa has been at the frontier of a new vision of circus arts—creating powerful works that challenge, thrill and delight. Featuring an ensemble of multi-skilled artists under the direction of Yaron Lifschitz, Circa’s award-winning works have been seen in 34 countries across six continents. A powerfully emotive work, “S” is sinuous, seductive, sophisticated, sensual and savage. Inspired by the shape, grammatical functions and sound of the 19th letter of the alphabet, “S” will fill the stage with the raw immediacy of performers at their physical and emotional limits. “S” is performed to music of Kimmo Pohjonen, Samuli Kosminen and the Kronos Quartet.
Celebrity Series is pleased to offer an artist post-performance talk on Saturday, March 3, with Circa Tour Director, Thea Blossom. This 20-minute talk, moderated by Peter DiMuro of The Dance Complex, will be held in front of the stage immediately following the Saturday evening performance. DiMuro shares his perspective on the company ahead of its Boston return.
By Peter DiMuro
Today’s show is brought to you by the letter S.
We’ve had Sesame Street introducing letters of the alphabet for decades now here in the US. Reciting their own ABCs from Brisbane, Australia, we get a wildly different take on the 19th letter of the alphabet.
Back for a return visit to us at Celebrity Series, the performance company Circa brings us “S,” an 85-minute, one act of a tour de force in movement, comprised of a non-stop accumulation of physical task-like vignettes, performed by a seven-person, no-nonsense ensemble of dancer/gymnast/performers.
Artistic Director Yaron Lifschitz and the Circa company took to experimenting with the arcs and curves—literally—of the shape of the letter S. For those of us who have followed the arc of dance, and the arc of arts for that matter, the exercise is akin to Postmodernism.
Here in the US, in the ’60s and ’70s, the Judson Church group in New York City became famous for their breaking down of the formalism of classic modern dance. They said “no” to what was perceived as melodrama in the narrative dances of Martha Graham or Jose Limon, and, through the likes of Trisha Brown, helped create in ways akin to Postmodernism in the visual art world. The movement studies and dances made from these experiments were conceptual and simple, but not simplistic. Studies developed into full arcs of dances that fulfilled the elements of time, space, and dimension. Dance had re-found itself in a new form.