Racket Ricochet, Zavalish and D.U.Y at the Hyperdome:
Conflict and exchange were the formal pillars of last night's performance. The performers/players achieved a balance of grace and aggression in acting out what Zavalish terms his "oniro-social adventurism" For the composer himself this is certainly a bold move considering his last three institutionally sponsored works negated the history of the self in a way that was hard not to read as a send up to the Surfractalists. The piece succeded in existing plainly, it's embeded symbolism was legible and effective if didactic. Indeed drawn on the floor of the classic re-modern pavillion was a map of Zavalish's father's home country. In response to the absurd amount of violent redefining of the region's boundaries, Zavalish imposed upon it the disarmingly simple lines of a tennis court complete with net players and runners, at the only omision of a referee.
The pre-composed process was to let the tennis match unfold with unhurried precision while tensily underscoring it with echoes of booming artifacts of war. The players interpretation was sincerly playful and within the enduringly humbling setting of the dome the D.U.Y group's soft arnachic commentary is a heavensent in a year were most performances were maximal and ejaculative.
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