Your attitude towards crowds is likely to be different these days.

“Sometimes I feel like being part of a crowd now is wrong, like getting caught and getting into trouble.”

“I feel like a danger that you have to come by quickly. I think everyone is a danger that I need to get past quickly. “

These are the thoughts of dancers in the new outdoor show “Out of the Crowd 2.0” by the Ormao Dance Company. The first version of the company’s show took place in October. The new version runs on Friday and Saturday as well as from May 21-22 in front of the Ormao studio in the city center. Reservations are recommended.

The show will consist of five works of six to seven minutes, preceded by pre-show solo appearances. Each work takes place in a different location around the front of the building. A site leader leads five groups of 20-25 viewers to each mini-performance.

“It’s very different from sitting in a theater with a large group of people,” said Jan Johnson, Ormao’s founder and CEO. “You can stand wherever you want in the crowd. You have the agency to shape the experience for yourself. And wherever our culture is, it’s short bites. We will address this idea and let your imagination run wild. “

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For “Emerging,” the pre-show work, Johnson asked the five dancers on the piece to record and record their feelings about the pre-pandemic and now crowds. These recordings have been synchronized via a sound score and are played back while they play solo pieces in the audience.

Johnson will also appear with partner David Red Owl Sherman in a piece by choreographer Patrizia Herminjard, who took inspiration from Sherman over the years.

“He’s always there at our shows, and he’s always moving things and taking care of things,” said Johnson. “He never says a word, just cares about things.”

The play in the alley south of the Ormao parking lot will cast a glimpse into a scene from their life together. It’s gestural, funny and flavored with Hawaiian music and a kind of vocal recording about relaxation.

“It has beautiful universal images about relationships that everyone will relate to,” said Johnson.

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In the piece “3 Windows and a Door” by the choreographer Ila Conoley, four dancers perform in the Ormao studio while the audience watches from outside. The dancers received a movement and assigned another room in a house: living room, kitchen, entrance and bathroom. You have to decide how to move in these rooms while they are still moving. Part of the piece also includes enlarging the dancers so that the audience can see the dancers in person in the studio and also on the screen.

“We’ve been dancing at home for a year and have this rich environment, whether we like it or not, whether we wanted to improve on that sink or not,” said Conoley. “I wanted to play with the idea of ​​what things we work with at home, and now that we’re getting personal again, what else works? What else can we take with us? Can we use zoom in live performances as a technique that the audience can see in a different way? “

The choreographer David Foster designed the sound piece “Listen” with two tap dancers. One will dance on a platform in Foster’s van while the other will dance outside the truck. A wall between them will negate their ability to see each other and force them to listen.

“I’ve been thinking about what the last year has meant to me and listening has been a big part of it,” said Foster.

“How do we listen to each other? And this relationship that people have to listen to themselves, as well as the communication process that gives and takes between two people and how that is also reflected in ourselves. “

Julian Barnett, who teaches at the University of Vermont and had to include Zoom and Facetime in the rehearsals, choreographed the duet “Beacon”, which depicts the relationship between brother and sister with the loving connection and also the fighting. And Laura Hymers Treglia’s “Mothership” will use her Subaru as a stage, with the moon roof, doors and hatchback open. The dancers, both mothers, will embody what the life of a busy mother is like.

“There are moments that are funny, with props and too many things,” said Johnson. “They try to handle too many things, like life as a mother. It’s moving. “

Contact the author: 636-0270

Contact the author: 636-0270