Dana Reitz, Severe Clear

Radcliffe Dance Studio

Counteracting the ongoing cacophony of borrowed styles, there are lately on the rise the hush-hush tones of soft-core asceticism. The resurgence of interest in Helen Frankenthaler’s work, the use of oriental and calligraphic motifs by younger artists like James Nares and Scott Richter, and the development of a lyrical/minimal vernacular by sculptor John Duff are all part of this most current state of affairs. So is the choreography of Dana Reitz.

Though her reputation is staked partly upon her maverick image, Reitz’s standard late-Modern training—through the examples of George Balanchine, Merce Cunningham, Indian dance/theater, tai chi chuan, Twyla Tharp, Laura Dean, and Robert Wilson’s Einstein on the Beach—is clear in every move. What is special about Reitz’s work is a precarious, glimpsing sort of introspection—a normally fleeting mood that she sustains, as if dipped in bronze, through

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