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AUDIENCE REVIEW: Koresh Dance Presents Hollow Apple

Company:
Koresh Dance Company

Performance Date:
April25-28

Freeform Review:

The World Premiere of Hollow Apple, brought to mind an analogy for some social media self-discovery, and to others a map into a sleepless dreamscape. In a fury to connect with reality, and the disappointing people pleasing mechanism in the internet age. An illusion in fact that traces back to intellectual life, deeply ingrained with the study of dreams, for the former virtual clones of ourselves come to mind, the later a mirror  for our subconscious life. And the hollow apple, of course is, dependent upon the deep mental life of an extension of our-selves by social media,  desire for others to understand our psychotic mind. Whether the fruit of our labor is there, couldn’t be underestimated here, through realms of tireless, inner work, and connection to dream-images.

“What is this so-called hollow apple?” now hints at a persistence to enter life consistent to dreams, and the accessibility for immediate gratification. It really describes for me, this grappling with a forlorn self-image. It’s hollow, and we want the fruit of our working lives to be fully enjoyable. Taking us on this “attention landscape,” as it is referred to by a computer scientist dealing in the subject of exercising our minds for deep work, by Cal Newport. Koresh Dance and artistic collaborators have designed a hypnotic pathological break from your fantasy archetypes, most pressing ego, in "Hollow Apple" and its sections for closer interpretations in their titles, there is this direct significance in the multi-modality of being.

In re-imagining the meaning, it has phased in the conundrum of dream-images. “The Fall,” “Reflect,” and “Hear my Call,” charged forth with sensuality, and calculated associations, and even a bed on stage as Mellisa Rector led with a symbolic tone. In more than one case we look to dreams and  playfully mimic this alter ego on social media. 

This first half was explicit, both in a sense melancholic corporeality and “Âme”, spirited they clutched their hearts. Sections of club culture seen through make-shift instrumentality that regained one’s self from feeling isolated were beating to the sound of the heart. The beauty perhaps comes in contradicting scenes. The Middle Eastern lute and drumming in a synthesizer created vibrations with full company. It freed the body into pure fantasy. An arch ranged in tempo with music by Sage DeAgro-Ruopp, at the second half. Lighting unique to its form, by Alyssandra Docherty, in “My Mirror.” Then we associated “Grace of Being Alive,” with a creepy fun house, carnival-esque source. An unfamiliar past recollection of a seductive night-on-the-town. Poetry by Karl Mullen, returned more spooky to chill our nerves from its more ambiguous voice to, 'put on our face'.  Whether this was some make-believe selfie, or a scrambled recollection of our past with connections to our wildest dreams, lose yourself to Koresh Dance.

Author:
Chuck Schultz

Website:
WHYSEEART.com

Photo Credit:
Chuck Schultz