Michael Getman’s Face to face […] bombarded the audience with identifiable gestures and signifiers, triggering fragile association chains and disrupting them a moment later. This was achieved by juxtaposing/conflating concepts such as fascism (Hitler Gruß) and docility (common salutes), homosexuality and bestiality (moaning as one dancer rides the other as a cowboy might a horse). These embodied concepts and images were supplemented with a recording of a text with stark religious references, the male voice alluding to the denial of god, the image of the innocent child, the desperation of beggars, etc. The movement vocabulary remained understated and familiar, a welcome counterpoint in the otherwise challenging work.
– LUKE AARON FORBES
Excerpt of an article published by Dance Europe, Issue 191, January 2015. Purchase the entire issue here: http://www.danceeurope.net/store/issue-191