Just as our class witnessed with the first 3 performances at the City Center on Tuesday, choreographers often heavily employ music to supplement and enrich dance routines. However, once in a while a program will come along and shatter the norm.  During the majority of “Three to Max,” Ohad Naharin used the effects of focused lighting and simple, thunderous counting in order to exemplify the merger of quick, choppy movements of the dancers.   As the counting pursued, the number of dancers on stage multiplied.   Furthermore, the rhythm of mere words increased along with the intensity of the visual collage, culminating into a beautifully penetrating presentation that left me in awe.

However, Naharin is not the only mastermind who chooses to think outside the box. For the next two weeks, the Tribeca Performing Arts Center will be exhibiting choreographer Dusan Tynek’s “Transparent Walls,” “Widows Walk,” and “Portals,” in which he selectively chooses, unlike many other programers, to mix using live music and recorded tracks.   Such a simple, yet different approach produces a distinct atmosphere for each piece.  For example,  “Transparent Walls,” the first piece on the program, implements a recorded score by Aleksandra Vrebalov; however “Widow’s Walk,” brings an overly exciting dynamism with the aid of a live quartet.  Moreover, “Portals,” uses Cornelius Dufallo’s unrecorded violin skills, which he abandons for Serbian drum.   I can only imagine the parallelism of the sound and rhythm between this piece and “Three to Max.”

I feel as if the choreographers who are able to engineer a uniquely different experience for me are the most successful at keeping me on the edge of my seat during programs such as City Center’s Fall for Dance.