‘Parades and Changes, Replays’
From left, Nuno Bizarro, Alain Buffard, DD Dorvillier and Boaz K Barkan are seen during rehearsals Wednesday for the West Coast premiere of “Parades and Changes, Replays” at REDCAT in Disney Hall. The play is a full-scale reinterpretation of choreographer Anna Halprin’s 1965 masterpiece with music by Morton Subotnick. Improvising around a set of movement and music scores, dancers carry out everyday tasks, dress and undress, invent gestures, and disappear inside swirling rolls of paper. Back in the ‘60s, its frank treatment of nudity shook the dance world by challenging conceptions of the body, stillness, and the ceremony of trust (as Halprin named it) between performers and audience. (Ricardo DeAratanha / Los Angeles Times)
DD Dorvillier during rehearsals at REDCAT. The revival of the piece been newly realized by a team of French artists led by Anne Collod, a specialist in dance reconstruction. (Ricardo DeAratanha / Los Angeles Times)
A rehearsal scene from “Parades and Changes, Replays.” (Ricardo DeAratanha / Los Angeles Times)
Anne Collod during rehearsals. As the hourlong piece nears its end, the performers fill the stage with cast-off clothing and accessories, obliterating themselves with all sorts of costume pieces, fright-wigs, plastic tubing and garage-sale junk. (Ricardo DeAratanha / Los Angeles Times)
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From left, Alain Buffard, DD Dorvillier, Boaz K Barkan, Vera Mantero and Anne Collod during rehearsals. (Ricardo DeAratanha / Los Angeles Times)
Vera Mantero and Alain Buffard during rehearsals. (Ricardo DeAratanha / Los Angeles Times)
Boaz K Barkan, left, DD Dorvillier, Anne Collod, Alain Buffard, Vera Mantero, and Nuno Bizarro work on a dance scene during rehearsals. Executed by Sébastien Roux, the Morton Subotnick score consists of an intricate, energetic sampling of sound textures and fragments that travel across the space, growing in density and volume, though eventually we hear Petula Clark’s “Downtown” and the Beach Boys’ “The Warmth of the Sun” complete and unmanipulated. (Ricardo DeAratanha / Los Angeles Times)
