Out From A Far(m) Germond introduces a number of communications:
animal sounds, spoken words (alone, in sequence, in
unison), elaborate sign language (I don't know if she
used actual signing or not, but it was completely convincing),
larger and very athletic movement, facial expressions.
When I think of it now, it seems as though there were
actually two distinguishable sign languages: one that
appeared to be standard and another that seemed to be
a new creation. I was fascinated by this signing, the
relationship between hands and faces.
male dancer in this piece was completely serious, seeming
to be engrossed and to not make eye contact with the
audience, perhaps not to be aware of it. The autistic
qualities of compulsion and deep absorption that characterized
his movements were a contrast to the movements of the
three female dancers. They seemed at times to pantomime
and cavort; at other times their dancing was almost
again this piece gives that feeling of unease that so
characterizes Germond's work: is this funny or frantic?
Are the performers communicating when they speak or
just making human sounds? When the words were chanted
in phrases, was the relation between them meaningful
or arbitrary? Ditto for the dancers' movements. Was
there a coherent relationship (among them) being suggested
or were their encounters random, their responses to
each other on the level of reflex or instinct rather
than intention? Germond's choreography works with languages,
the relationships between sign and meaning."
Curator at the Krannert Art Museum
for Act II of Out From Afar(m) is a list- poem by Lehcar
Bitch/ Birth... Curiosity/ Curse/ Desire/ Deer... Experience/Extravagant/
Fragrant/ Fat/ Female... God. Great... Happen/Immediately.
Join/Jump. Kiss/ Kill/ Keep Quiet. Language/ Land. Marriage/Menstruation.
Noon. Order/Order/Order. Ourselves Plenty. Pretty. Queer.
Queen. Raise/Redeem. Secret Table Teacher Understand
Worth. Year. Yesterday. Zero.
Act I - Sound Effects, Act II - Dave Douglas, Act III
Running length: 12 minutes