ANDRES CORCHERO AND OGURI
BRING DOWN THE (VERY SMALL) ELECTRIC LODGE HOUSE
I know very little about butoh, but in
the last few years I’ve become quite the fan; when performed, the evasive
Japanese form implies such rigor that you can’t help but gasp.
The dancers possess this otherworldly
patience and command of every muscle—no, every molecule—in their bodies. It
seems they focus on a training of the mind simultaneous to the training of the
body, rather than allowing brain development to come about as a side effect of
movement. Butoh holds movement and the body in such high regard; it is
practiced with a reverence that says that movement has the power to enlighten.
This regard is, in my opinion, exemplary; we should see and revere more
movement this way, with a respect and awe. We should allow it to teach us about
our bodies.
Friday night, less than twenty audience
members sat themselves in the Electric
Lodge in
Venice for a performance by Andrés Corchero and Oguri. Corchero would present a
new solo, PADRE,
and he and Oguri would come together for a duet, 451
– Homage to Ray Bradbury; all as part of the
seventeenth annual Flower of the Season, presented by Body Weather Laboratory.
Oguri’s legacy alone considered (he came to butoh via a meeting with creator
Tatsumi Hijikata), twenty audience members seemed slim—even the small venue
could hold more. But he, Corchero, and Body Weather Artistic Director Roxane
Steinberg didn’t seem to mind. They received each guest with kind and welcoming
words, holding the curtain until each expected guest (even Steinberg’s parents)
was comfortably seated.
Corchero’s PADRE was
quirky, eclectic, and virtuosic at the same time. The work explored the
paternal role, generational gaps and stages of life via his relationship with
his father. In portraits that faded in and out, he portrayed many aspects of a
masculine connection, telling the story of his own father’s passing and the
story of that relationship rekindled and rearranged with his own son. Corchero
clearly exhibited the patience of a butoh practitioner, with slow movements and
repetitive movements drawn out so far past the point of hypnotism that they
became interesting again. He also gave off a sense of wisened comfort with his
own bodily instrument, moving in idiosyncratic patterns and letting go of
control in ways that allowed him to show carefree human nature. It was movement
so controlled it was awe-inspiring, and then movement so deeply relatable that
it became innate within the audience’s body: the foreign and the familiar
coupled to share a story with such poignance.
Corchero’s daughter, Rita Corchero
Pérez, accompanied a section of the piece with a stunning cover of Across the
Universe—at fifteen, she spoke text as a teenager but sang with the calming
maturity of a beloved mother figure. Her relationship to Corchero in the space
was simple and circular, but reflected their connection beautifully, her
angelic voice resounding intimately in the black box. Family members Ana Pérez
and Caterina Pérez acted as composition assistant and costume designer,
respectively—a true family affair—and minimal lighting design by Llorenç Parra
was subtly graceful, guiding the eye through set designed by Corchero and
Miquel Ruiz.
451—Homage
to Ray Bradbury was
not the first of Oguri’s collaborations with Corchero. The two met in 1986 in
Min Tanaka’s Mai-Juku company, then found each other again in 2011 and revived
a relationship as creative collaborators. The two danced with a bond that
seemed so clearly founded on a shared insatiable curiosity—the work they
presented was spontaneous, inquiring.
The two began each with a stack of
books on their shoulders, moving backs to the audience so that it appeared they
had books for heads: a fascinating image, marked by impressive balance and
careful listening to each other’s timing. They left their books and returned to
their books, listening to each other all the while. Each fed off the other’s
energy to create a partnership so engrossing I swear I didn’t blink for twenty
minutes. Their gestures, fueled by a combination of mimicry and invention,
built the purest counterpoint, impressive because of its spontaneity and
instantly captivating. This was the product of men shaped by the rigorous
mind-work of butoh but made playful by curiosity and influenced by the world
around them. It was both worldly and specific—tenderly resonant and timelessly
relevant.
Live music by Oguri’s son, Zenji Oguri,
filled the theater with a soundscape just ambient enough to lead your attention
through the progression. At performance’s end, every mesmerized audience member
applauded emphatically, but Oguri and Corchero (and their children) deserved a
much more resounding applause. Keep your eyes out for the next presentation at
the Electric Lodge (where Oguri and Steinberg have been artists-in-residence
since the 90s), and make sure to get yourself there. This is thoughtful art
that deserves an audience.
Written by
Celine Kiner for LA Dance Chronicle, March 9, 2020.
To visit the Body Weather Laboratory, click
here.
Featured image: Andrés Corchero and
Oguri in 451—Homage
to Ray Bradbury– Photo by Carles Decors
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