by Mario Pasi

The other night at Franco Parenti Theater, the long-awaited performance by Japan born Maureen Fleming took place. Her performance, "After Eros" was applauded by a large and attentive audience: the extraordinary qualities of this dancer are well known-this is her third appearance in Milan-and the refined exposition of theatrical themes, in line with Japanese avant-garde, has the seal of the top class.

Fleming works hard on her body, with slow movements and aesthetic situations which remind of Moore and Brancusi's sculptures. By taking herself apart and putting it back together in total nudity, the artist builds up strong and then tender images; her smooth muscles express a great strength, the balance of the images always perfect, arms and legs become almost interchangeable. She is reflected in a sleek floor, which at the end gets purified by a light presence of water and flowers, Maureen Fleming makes her forms double, she rejects herself with mysterious shades, as she skims over the classical myths such as Narcissus, Psyche, and Daphne.

The Butoh style, that ironically enters even Lindsey Kemp's art, finds in the American dancer points for a suspension from pure formal abstractions. In spite of the title, there is almost nothing of erotic here. Going over again one of the most ancient dreams, Fleming starts from matter to catch life and spirit again. A couple of moments of a more American taste, the appearance of writing in lights about possible dialogs concerning life's cases and events of the world, look likes zones of lightning.

Being an example of a high form of art and infallible professionalism, Fleming's dance, supported by penetrating lights and music that range from Glass to Tchaikowski, imprints itself like an elegant model of intelligence and sensitivity. Success.