CMA‘s VIVA! & Gala Around Town
Internationally Acclaimed Maureen Fleming Dance
“Transcends the material world and enters a realm of pure spirit…
Cleveland (January 13, 2009) - The Cleveland Museum of Artís (CMA) acclaimed VIVA! & Gala Around Town presents Waters of Immortality and Other Works by Maureen Fleming on Saturday, February 28, 2009 at 7:30 p.m. at PlayhouseSquare. Ms. Fleming will be accompanied by Japanese shakuhachi (bamboo flute) master Akikazu Nakamura and pianist Peter Phillips. Flemingís multi-disciplinary performance juxtaposes her singular movement with three-dimensional video projections, still photography by acclaimed dance photographer Lois Greenfield and lighting by Christopher Odo.
Please note: This performance contains partial nudity.
Waters of Immortality and Other Works is a sensuous multimedia celebration of the feminine archetype, inspired by the lush symbolism of Irish poet William Butler Yeats. Maureen Fleming invents exquisite movement poetry, sculpting her body into nearly unbelievable, shatteringly beautiful shapes. She pushes the boundaries of the bodyís expressive potential and challenges the definition of what is physically possible. Part dance, part dream, part sculpture, Fleming explores our never-ending search for what is universal about the journey of the soul.
Admission to the show is $41 and $39 for CMA members. Student ìpay what you canî rate is available at the door subject to availability. To purchase tickets visit the CMA Online Box Office at www.clevelandart.org/tickets or call 1-888-CMA-0033. Maureen Fleming will perform at PlayhouseSquare located at 1519 Euclid Avenue. Parking is available at the PlayhouseSquare Parking Garage at E. 15th Street and Chester Avenue, at the Hanna Parking Garage on E. 14th at Prospect, and at various nearby surface parking lots. The 2008-09 VIVA! & Gala season is sponsored by Cleveland.com, WNWV The Wave and WCPN 90.3.
Traumatic Childhood Accident and Influence on Dance Vocabulary
Collaboration with Philip Glass and David Henry Hwang
Fleming acknowledges the influence of butoh training on her dance performance, but her departure from Butohís ìdance of the dark soulî is to permeate it with light. Her subjects have more to do with the ìunbearable lightness of beingî than the dark corners of the soul. This, together with a superb sense of theatricality, makes her art unique. In her multi-media performances, needle-sharp lighting, video and projected images, live music and designed sound, as well as extraordinary body techniques are meshed to create surreal movement poetry that calls for suspension of rationality. It is like seeing magic, except that it is not about trickery but sublime imagery.
In The Stairs, set to Philip Glass's ”Metamorphosis II,” the body is falling down—indeed, floating in mid-air—from a very steep staircase. The exquisitely shocking image is executed with such flawless precision that it forces the mind into disbelief, as if dreaming. In a piece called Mother and Child Fleming becomes both, and in such a masterful way that she conveys the imagery of two dancing figures.
Ballet Training and International Renown