Carolyn Carlson: Double Vision
Scenes from Double Vision ~ Click arrow to begin.
Although I did not think Nikolais at the time of viewing as I had Dante, I saw Carolyns aesthetic heritage throughout the staging. How Nik would have reveled in the technology she has at her command! Although much of it is old hat, such as billowing cloth, lowering panels, and multiple stage levels, it was the projections of motion pictures that tied it to now. And the projections took us from the constructivism of the façade of the Pompidou Center through vistas of gloryup stairways and down ice floesand led us to nearly everywhere on Earth and in Heaven.
From the first image of Carolyn lying in the billows of diaphanous fabric though her frenetic walks to her gesturing to panels and her constant go-go-go, I could see Martha in the 1940s dancing on these same pathways.
And the reiterative motion: Anyone who has seen Louiss Chimera will recall the genre of motion employed. The flickering motion of the fist, the sudden dismissal of one theme to the frenetic pursuit of another, and the piling of one image upon the other are all hallmarks of Murrays that Carolyn used so well. Overall, I do not see in this work the mountains of Utah from whence Carolyn embarked but rather her busy boulevards, close alleys, and unpeopled gardens of Paris. I see a stranger finding oneself there and experiencing it all.