Double-Edge Dance presents
STRIKE A NERVE/STRIKE A CHORD in CPT's DanceWorks 2008
How do we get up the nerve? What strikes a chord? What nerves us?
April 10th – 12th at 7:30 p.m.
Sunday April 13th matinee at 3:00 p.m.
James Levin Theatre at
Cleveland Public Theatre
6415 Detroit Avenue
Cleveland, OH 44102
Call 216.631.2727 for tickets
Or order online at www.cptonline.org
Double–Edge Dance is a contemporary dance and music company co-founded in 1993 by choreographer/dancer Kora Radella & composer/saxophonist Ross Feller
They have performed their work in many venues and festivals
including in Amsterdam, Belgium, Switzerland, and the U.S.A.
In Ohio, their work has been performed at CPT as part of the Big Box Series 2007, Palace Theatre in the Dance Showcase 2006, Ohio Theatre as part of Ingenuity 2007, as well as performances at Kenyon College and in cm2 concerts in Columbus
The new series, Strike a Nerve/Strike a Chord includes: two duets, one nurturing and the other feisty, three solos, one engaging poignant and evocative text, another jockeying between the extremes of unrest and rest, and one catapulting through the space with verve. All come from a human perspective, reflecting communication patterns such as handshakes that can be ‘just right’ or plagued with misfirings. Nerve patterns connect and disconnect us along the multi-layered pathways. The evening also includes two repertory works: one with Seibert in a piece that was performed at the 1990 Cleveland Performance Art Festival at CPT with critical acclaim and the other with Lisa K. Lock in Scratching the Surface, a work Radella originally choreographed in Lock’s hometown, Basel, Switzerland.
Lisa K. Lock
& Saxophonist Ross Feller
Company website: www.Double-EdgeDance.org
Excerpts from selected critiques of Double-Edge Dance:
“Double-Edge Dance's multimedia performance was most memorable in how their brainy-strange core artists put together new music, dance, video, and fiber art. Rebecca Cross's shape-shifting fabric in Crevasse made spooky transformations from huge cocoon to mountain to unearthy figures to ghostly veils. Claudia Esslinger's Warhol-slow video Skree, of a sleeping woman's face cupped by a demon's hand, was haunting. And dancer/choreographers Julie Brodie and Kora Radella's "I dare you" pas de deux of intimacy and retreat in Reverse Fault was made even better by composer Ross Feller's bass, sax, and water sounds.”
- Linda Eisenstein on coolcleveland.com about Fault Lines performed as a work-in-progress at CPT’s BigBox 2007
“The most pervasive statement on the effects of media on human life came via Kora Radella’s Fourfold. Wearing salt-and-pepper-patterned sweaters evoking late-night television static, the dancers explored primitive, animalistic tendencies within a technologically advanced world. The piece felt confrontationally, with bodies slamming together, then gliding to the floor, or dancers grabbing one another’s heads to force turns. The theme of attraction and resistance held the disconcerting work together.”
- Sherri L. McLendon, Dance Magazine online, April 2002
“Kora Radella and Ross Feller have been working together since 1993 as the production team “Double-Edge.” They created Untrimmed for the performer Hanna Barbara. The title Untrimmed means uncut, unsupported and untamed and refers to the six-meter-long hair of Hanna Barbara, which is tied to a wire and defines the possible movements of the performer. Like a red-gold umbilical cord, this hair holds the two antagonistic halves of the dancer together…Her language of movement is composed of tiny, strongly differentiated nuances using a degree of body control that makes every view of her face a choreographic element.”
- Simone Meier, Basler Zeitung, February 8, 1997, “Untrimmed in ROXY: From Rapunzel to Femme Fatale,” translated by Jürgen Banholzer
“The personality division is the theme of the piece Untrimmed, performed by Hanna Barbara under the direction of Kora Radella in the ROXY. This piece presents a strong concept convincingly realized…The body control of the artist alone is worth seeing: precise, expressive and direct…Hanna Barbara demonstrates wonderfully, in her tender buy vain struggle with her fixed horse-ail of five meters in length, that there is no escape from ones burdens and that one is bound to work them out seriously…What Kora Radella and Hanna Barbara, both of whom studied modern dance at the School for New Dance Development in Amsterdam, presented in ROXY, was a successful representation of the wholly immaterial…The applause from the public was long and sustained.”
- Bea Berczelly, Basellandschaftliche Zeitung, February 8, 1997, translated by Jürgen Banholzer
“Young newcomers Kora Greene and Maxi Hill (Amsterdam) danced a slippery, sensuous duet in Castles in Shifting Sand…They moved out of their separate worlds through lyrical holds and rolls, and ripped open their dresses with a hissing rage…Daring falls required trust and exquisite timing, which they had. The desperate lurching movements, the mock battle, the sensuous hip twists and exuberant dives created a passionate relationship.”
- Amy Sparks, High Performance, Fall 1990
“The combination of dance, performance art, text, movement, and sculpture was a joy to witness…certainly a highlight of our Festival.”
- Tom Mulready, Director of the Cleveland Performance Art Festival, 1990
“Through enormous simplicity there arose incredible changes and extremely fascinating movement.”
- Ineke Sluiter Prize announcement, Amsterdam, 1989
“In her collaborations with Maxi Hill, one of which was awarded a major choreography prize in Amsterdam, Kora created a portrait of the dancer which absolutely transformed her subject: in other words, she has the gift…I find myself constantly surprised, but never bewildered…A natural experimenter, with relationships on and off stage, Kora is thoroughly equipped to carry out the expedition she proposes, and arrive at the destination, having mapped the entire journey. And we could all make use of her maps”
- Christina Svane, Choreographer, Performer, and Teacher
“This same independence of spirit has given her professional choreographic work as a dance artist a strong identity and character.”
- Mary Fulkerson, The Dance Academy in Arnhem, The Netherlands
Official Website: http://cpt.online.org
Added by radella on March 16, 2008