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personified the frustrations and feelings family members represented.
Like a haunting drama unfolding with characters molded by dress ana expression, the 15-minute dance captured the audience with detailed movement, quick and necessary expression, and pronounced rhythm embrodiered by the shadows, lurking around the floor-stage.
“Try to remember an image from the performance,” Ms. Portman said to the audience, directing them to close their eyes and in reflection to make the image with their hand or hands at the conclusion of the first presentation.
The hands of the audience made shapes of various sizes and contours as each “responded to the piece nonjudgementally and non-intellectually, but allowed the audience to speak with the performers in images,” Ms. Portman said.
The visual images of Ms. Wyrrick’s “On the Cutting Room Floor” remain in the judgment and intellect after the lights have risen and the floor swept clean of overturned flowerpots, destroyed vegetation, film strands and controversy.
Arising to the beauty of flowers, Ms. Wyrrick’s body movements dramatize her gladness then dismay at one baren soil. The shadow of the shears grows larger as the shears go from snipping to destruction. The chanting voices of schoolchildren ring around the darkened room. The swaying movement the dancer creates across the canvas is highlighted by the projection of light and rhythm is established with text moving from casual to near chanting. Her face is surrounded by the ball of light as she discusses the insurance necessities with a frozen fetus; the pounding of her body against the whitened canvas as she pulsates with blood pumping through an artifical heart; her hand reaching toward hope as it
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