NEW ADAGIO: Maureen Fleming

NEW ADAGIO: Maureen Fleming

In October 2013, a journalist from one of my publications had a conflict, and the editor began searching for the performance to be reassigned. I, eager to make a good first impression on the editor, volunteered. I knew nothing about this work at La MaMa beyond its poster image and title "B. Madonna." I was certainly unaware of its choreographer/performer, Maureen Fleming. This performance was, and remains, the only theatrical experience I could describe as perfect from first light cue to final bow. Her poetic cascade of imagery engulfed my imagination. After stumbling from the east village theatre in a meditative stupor, I decided that I must meet with Maureen Fleming. She responded with an invitation to a Manhattan workshop. Since that day, and in the mentorship that followed, a history of an artist's journey to maturity and the creative foundation on which an evening such as "B. Madonna" is possible, was unraveled.

Maureen Fleming would tell you her movement studies began with an incident in her childhood in Japan. While driving, her mother swerved to avoid an oncoming biker. The young Maureen Fleming was tossed through the car windshield. This early injury was survived with its consequences not revealing themselves until later in life. It caused an ever-present irritation, which inspired ceaseless and intuitive movement in her spine. Later, it was discovered that this movement was initiated by a slipped disc and spinal deformity that her body was trying to navigate.

Ms. Fleming began Cecchetti training under the mentorship of ballet master, Margaret Craske, in New York. Through La MaMa she first came across butoh when she was cast in a performance tour with Min Tanaka. Inspired, Ms. Fleming returned to Japan, where her dance form shifted from the consistency of ballet training to butoh's iconoclastic action. In Japan, Maureen took part in Min Tanaka's famed farm and began an artistic friendship with Kazuo Ohno that lasted until his passing. She returned to the United States in the 1980s and became an artist in residence at La MaMa for over 30 years. Other notable collaborators of Ms. Fleming's include Philip Glass, David Henry Hwang, Christopher Odo, Lois Greenfield and Yoshito Ohno, the son of butoh co-founder Kazuo Ohno.

Fleming Technique is founded on archetypal form and restorative movement. The physical development is aimed towards lengthening the spine from sacrum to skull as a natural unit. Admittedly, the terminology Ms. Fleming employs can be esoteric ("the pearl," "flower," "moon," etc.,), though each of these particular images initiates a grounded anatomical response. Ms. Fleming's unique process is often misconstrued as a simple manipulation of butoh. In reality, her technique is too molded for that heritage to be its unique ancestor. Her body, while giving the illusion of abandon, is in highly articulate control. Her technique harmonizes intentional form and internal action, which revolutionizes avant-garde movement through constructive process.

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Wesley Doucette Wesley Doucette is a New York based director/choreographer. Recently he worked as assistant director on Masterworks Theatre Company's inaugural production of "The Glass Menagerie." His director credits include Tiny Rhino, "The Rite of Spring," a studio production of Brecht/Weill's "The Threepenny Opera," and the medieval morality play "Everyman." He is currently undertaking a new iteration of "Everyman" which enjoyed a development presentation at Dixon Place. This production will be performed upstate in 2016 under the artistic mentorship of world renowned dance/theatre artist Maureen Fleming. He is also stage manager for Maureen Fleming Company. He writes for The Andygram Blog and is a frequent contributor to The New York Theatre Review. He was a member of The Orchard Project's apprenticeship, "The Core Company," in 2013.