Lucinda Childs, “Available Light,” February 3rd.
This post is very, post.
It’s been a busy February. Since seeing “Available Light,” I’ve also been to a play, the ballet, and a flamenco performance piece. So there is more writing to come.
There are several aspects of “Available Light” by Lucinda Childs worth noting and worth reflecting on, but part of what I think makes this one writable for me is how much I enjoyed the planned and unplanned conversations that unfolded throughout the evening. As many of my previous posts reveal, my reflections often are part of conversations that still linger and those I have yet to have. My response to “Available Light” is no different; it is imbued by conversations I’ve had since seeing the show on February 4th. Here are a few brief reflections:
- There is beauty in repetition, which compels a different kind of focus that directs attention to the cracks and gaps between movements and dancers.
- The music composed for the piece sounded of waves and other earthly utterings.
- The piece held together; it seemed like a conversation of movement, sound, and light.
- I didn’t understand the title until I heard Childs and John Adams, the composer, talking after the performance.
While I enjoyed the performance I still left the show wondering why bring this piece back. It’s rarely been seen since 1983. It’s not as though Available Light is a timeless piece; its aesthetic age is evident. And as Childs made clear, the dance apolitical and without “a message.” What does Available Light matter to now? Is it’s beauty enough of an answer?