BWW Reviews: La MaMa Moves! Dance Festival Presents Pavel Zustiak + Palissimo Company's 'The Painted Bird' Trilogy Cycle

BWW Reviews: La MaMa Moves! Dance Festival Presents Pavel Zustiak + Palissimo Company's 'The Painted Bird' Trilogy Cycle

Pavel Zustiak's trilogy The Painted Bird is nostalgic in the way the exorcised feel romantic about their lost demons. The ongoing creation of an expatriate born and raised under Communist Czechoslovakia, it bleeds from the gnawing ache of memories - the mind's greatest gift and affliction. The Painted Bird, based on Jerzy Kosinski's 1965 novel about a nomadic boy's experience wandering through Europe during World War II, travels through realms of transformation and bravely confronts the manipulative qualities of time and distance. It is raw and interrogational, yet the information produced is organized meticulously to uncover a sensation that is uncomfortably intimate and intentionally well hidden.

"Bastard," first of the three parts, exposes loneliness through extreme isolation. Crouched low and balanced precariously near to the floor, an extraterrestrial creature scuttles across the desolate, dimly lit stage in a prescribed linear pattern. The scene is reminiscent of a post-apocalyptic world, and the dancer is indecipherable in age or gender. A large overcoat and face coverage could suggest the innocence of a child or the destitution of homelessness; in either case the creature is totally and utterly alone, navigating an empty space as if following the explicit margins of freeway lanes. The persistent rhythm of feet sliding along the floor is broken up by the occasional heartbreaking sigh of viola strings coming from another outsider silhouetted in the darkness. The soloist, revealed to be Jaro Vinarsky, defines banishment with modicums of distressingly frank movement installed in isolated pockets across the stage. Joe Levassuer's lighting design is an active landscape for Vinarksy's separation just Christian Frederickson's musical accompaniment is a continuous push and pull between starkness and sorrow.

In the second section of the trilogy, "Amidst," the audience becomes a curious crowd in a smoke-filled room. Wandering about the dark and barely-navigable space, the audience takes cues from an occasional spotlight or projection on a screen as they wander and wonder. Three dancers, Elena Demyanenko, Nicholas Bruder, and Pavel Zustiak, slice and tumble through the crowd, parting the sea of smog and bodies like long-awaited messengers. Their message is corporeal, yet enigmatic. The three of them are sharing an experience from which they are selecting only specific parts to share with those of us on the outside.

More From This Author

Kayt MacMaster Kayt MacMaster is a NYC based dancer, choreographer, dance writer, and co-founder and artistic director of a newly conceived performance company, blueprint dance project. MacMaster earned a BFA in Dance and a Minor in Writing and Rhetoric from Oakland University in her home state of Michigan. As an educator and movement researcher, she has spent time in Ghana, West Africa and presented research at the 2012 National Dance Education Organization conference in Los Angeles. Kayt MacMaster is a registered yoga instructor, folk music disciple, and film enthusiast. She is currently working with Jeremy Xido on his documentary film, Death Metal Angola.