It’s fascinating how artists, especially those in the realm of dance and theater, constantly push us to question our ingrained perceptions. Beth Corning, a choreographer I've come to admire for her incisive approach, is doing just that with her latest production, "Foolish Assumptions." Personally, I think her work is a masterclass in how to gently, yet powerfully, dismantle the narratives we construct about ourselves and others.
The Power of the Unsaid
What struck me immediately about "Foolish Assumptions" is its deliberate sparseness. Corning and her collaborator Evan Fisk, a performer with a background that includes the immersive "Sleep No More," engage in a 45-minute exploration of connection and disconnection. The stage is notably bare, save for two chairs. This isn't just a stylistic choice; in my opinion, it's a strategic move. By stripping away the usual theatrical accoutrements, Corning forces the audience to focus on the raw human interaction. The prolonged opening silence, with the performers facing away from the audience, is particularly telling. It’s a bold statement that demands our patience and rewards it with a profound sense of anticipation. What many people don't realize is that silence in performance can be far more eloquent than a torrent of words or elaborate movement. It creates a vacuum that our own minds rush to fill, often revealing our own "foolish assumptions" in the process.
Challenging Perceptions, One Gesture at a Time
Corning's history, which includes a memorable piece years ago where a male dancer played a mother in a pink gown, exemplifies her consistent dedication to subverting expectations. The audience member who found that casting choice baffling, yet articulated that "to a kid, mothers are bigger than life," highlights the very essence of what Corning explores. She's not afraid to present scenarios that might initially confuse or even alienate, because she understands that true insight often lies beyond immediate comprehension. From my perspective, this willingness to be puzzled is what makes her work so vital. It’s an invitation to engage intellectually and emotionally, to move beyond superficial interpretations and delve into the deeper psychological currents. The simple act of Fisk removing and donning Corning's garments, for instance, is laden with implications about intimacy, vulnerability, and the complex dance of relationships. Every breath, every gesture, as Corning herself notes, carries immense weight. There's no room for pretense; the performers are laid bare, and by extension, so are we.
A Mirror to Our Shared Humanity
Corning's stated goal – "to shine some light in places where we often think we are the only ones sitting in the dark" – resonates deeply with me. It speaks to the universal human desire for connection and understanding. Her work, as I see it, is a form of communal therapy, a way of acknowledging shared anxieties and unspoken feelings. When she says, "The work that I do, I make because I don’t want to feel alone in what I’m feeling," it’s a sentiment that I believe many can relate to, even if they don't consciously articulate it. "Foolish Assumptions" isn't just about the performers on stage; it's a mirror reflecting our own internal landscapes. If she succeeds in sharing her questions effectively, she hopes to illuminate those dark corners for us, prompting us to ask, "What's that?" It’s this spirit of shared inquiry and the courage to confront our own assumptions that makes Corning's artistic endeavors so profoundly important and, frankly, so necessary in today's world. What might be your own "foolish assumption" that this work could challenge?
