Our work explores a myriad of human relationships using many different stylistic approaches, including pure movement, contact improvisation, and dance-theater. Our creative processes also vary widely, from beginning with a clear idea and drawing it out with dancers in rehearsal, to beginning with bodies in space and developing a theme through the rehearsal process. Regardless of origin or style, performance is where our work is ultimately borne. Each of the pieces described below was created in rehearsal and given life in performance.
|Here is a complete list of works with performance dates.|
Works created from 1992 - 1996
Border Talk, choreographed by Dawn Frank to "Syrinx" by Debussy, follows six dancers through a myriad of relationships as they move toward intimacy in varied forms and with different degrees of intensity. With trust falls, eloquent hand gestures, seamless unison, and deliberate partnering, this work deftly investigates shared solitude. (1996)
Replacement Procedure, a trio for women choreographed by Dawn Frank, charts the emotional paths of three women (mother, child, and unknown) whose lives intersect on an emergency room operating table. Set to a sound collage using a human heartbeat and "Spectre" by John Oswald, "Replacement Procedure" is an eerie exploration of the cusp shared by birth and death. (1996)
Wall, original concept and design by Hilary Bryan, is an improvisation developed and performed by Hilary Bryan and Dawn Frank. The two dancers are separated by a huge black plastic wall created from recycled garbage bags. The shimmering black plastic is hung before the piece begins, and it defines the performance space and the dancers' relationship to each other. The barrier is first accepted, and then tested beyond endurance as the performers desperately seek to understand who the person on the other side is. (1995)
I step alone onto the road;
Literal translation by Hilary Bryan. Original Russian and other translations are available. Drop us a line.
White Wall, a collaborative duet created by Hilary Bryan and Dawn Frank, explores the dynamics of an intimate relationship's beginnings, from the real need to share pasts and divulge secrets to the subsequent hedging and withdrawal. "White Wall" uses outrageous props, pedestrian gestures, and elegant dancing to explore the nature of trust. Clad in paper towels taped together like dresses, the two dancers are drawn to each other, and then repulsed as they confront the boundaries between them. Enormous sheets of plastic dropcloth create a "white wall," which is an accessible metaphor for the boundary between trust and violation. (1995)
When She Was Twenty-four. Playful gestures, athletic partnering, expansive dancing and theatricality provide a glimpse into the mother/daughter relationship and the responsibility of motherhood. The score for this poignant duet includes Bach violin partitas, the Transylvanian gypsy music of Musikas, and 5 year old Hilary Bryan's
More satisfying texturally is the work When She Was, which pays homage to Bryan's mother as she is about to embark on the journey of motherhood. The richness of Bach's music is enhanced by the ebb and flow of the movement, and the directional and tempo shifts, as if Bryan is seeking to portray a vacillation between joy and fear at the impending event.
bound, a trio for women choreographed by Dawn Frank, delves into the complexities of three women's relationships with their breasts, their bodies, each other and their audience of voyeurs. (1992)
Pink Slip is a solo with three supporting characters choreographed by Hilary Bryan. This contemporary fairy tale tells the story of a dreamy yuppie who finally lands her fantasy job. Her enthusiasm deteriorates into madness, however, as she succumbs to the tedium of her tasks. She gets fired -- stripped of her prized business card (and more!!) -- and flies into a fury of self-doubt and confusion. The strong dance narrative is accompanied by Walt Disney favorites and Tom Waits, as well as found office sounds and live vocals. (1992) Link to photos
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