In the opener, “Adagio & Scherzo,” set to the second and third movements of Franz Schubert’s “String Quartet in C major,” Pastor’s program note says he’s “not telling any story…” but rather “focusing on emotions…” and “intending to create a mood of constant quest, connections, and fascinations.” As four couples flit on and offstage, occasionally meeting briefly but never establishing real relationships, one can imagine quest, since no one settles anywhere, but mostly it seems to be about non-connections and missed connections.Ī couple enters she does a brief solo, while he stands still watching then she exits and he walks off with no relationship established. High value is placed on hip flexibility in the women and lifting power in the men ten-past-six o’clock extensions and full overhead lifts abound. His skill as an artistic director shows in his selection of beautifully trained, supple dancers, with formidable technical skills. Pastor’s choreography is neoclassical – women in toe shoes, easily named ballet steps – and dynamically bound to his music choices. L-r: Adam Myslinski, Patryk Walczak, and Kurusz Wojenski in Krysztof Pastor’s Moving Rooms The company performs two works by Pastor and the Emmanuel Gat version of Stravinsky’s “Rite of Spring.” Artistic director Krzysztof Pastor has brought twenty-three of the eighty dancers of the Polish National Ballet to the Joyce for its debut performances, June 16-21.
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