9 bare folks pose on a grassy garden, like statues in a sculpture backyard: standing, sitting, squatting, reclining in stillness. The sunshine is heat, and vivid however melancholy music performs. That is the scene that greets you as you enter “Aging Prelude,” a quick and delicately composed new work by the choreographic duo Chameckilerner (Rosane Chamecki and Andrea Lerner), which had its premiere on the Chocolate Manufacturing unit Theater on Friday.
Within the postures of the performers, who vary in age from their 20s to their 70s, you may acknowledge artworks like Degas’s “Spanish Dancer” (Jailyn Phillips-Wiley, an arm curved over her head, the opposite in entrance of her torso); or Rodin’s “The Thinker” (Ted Johnson, who sits hunched on a tree stump within the grass, chin available). The bodily lexicon of “Getting older Prelude” comes from photographs of nudes in portray, sculpture and images all through historical past. The choreographers are express about their supply materials, displaying these photographs on a wall within the theater foyer.
Whereas these artworks seize our bodies at a single second in time, typically fetishizing or idealizing their topics, “Getting older Prelude” is extra excited by how time alters and marks a physique, in addition to the physique’s sense of itself. A meditation on change, this 45-minute work can also be a recent begin of kinds. In 2007, after greater than a decade of constructing extremely bodily and psychological dance works, Chemeckilerner, a Brazilian duo primarily based in New York, introduced what they framed as their last. “Exit” explored, of their phrases, “the idea of extinguishing themselves as an inventive entity”: a “funeral ceremony” for his or her profession. “Getting older Prelude” is a quiet resurrection.
The performers stay nonetheless for a protracted whereas, as Paul Parreira’s music, with its looping strums and reverberations, washes over the house. The viewers sits on the solid’s degree, surrounding the grassy space (Taylor Friel’s set design). Bria Bacon is the primary to drop out of her opening pose, stride to a different location and assume a brand new art-historical place. The music fades, leaving solely a faint ticking that can finally fade, too. Bobbi Salvör Menuez, slouching and holding up a free fist, speaks into the near-silence: “I’m holding a frog.”