PRESS
“Corrie Befort can take small things—the ripple of a wave, the shrug of a shoulder, the shift of muscles in the back—and show them to us as fresh and important. Even in moments of great kinetic power, we recognize tiny details.”
- Seattle Weekly, Sandra Kurtz
“ . . . Dance can articulate ideas and, like music, can capture some downright spiritual qualities through abstraction, but one of its fundamental subjects is how the human body feels . . . Corrie Befort's recent Fold Upon Fold at Northwest New Works struck me as being all about how weight shifts and turns in the chest, back, and stomach, as if the torso alone could be a choreographic site. I left this performance gloriously reacquainted with muscles I'd forgotten”
- Why You Should Go See Local Modern Dance, The Stranger, Bret Fetzer
“Superbly choreographed. Superbly danced. What Remains is a deeply evocative work.” - Olivia Gunn
“Fresh off a Red Room appearance with Baltimore 's supremely innovative Trockeneis . . . One Too Early, a dance and music duo between Corrie Befort and Tim Olive, creates striking, organic compositions through intense, collaborative free improvisation.” - Bowerbird, Philadelphia
“Awakened and enlivened the space to an exquisite degree . . . extraordinarily clear and committed.” - Allen Johnson
“Corrie Befort's dances make you want to sit up close—the combination of subtlety and detail draws you in—so it makes sense that they translate well to film, which can make an earthquake out of a twisting shoulder.” - Seattle Weekly, Sandra Kurtz
“By the time spoons spilled from the hands of dancer Trez McBean, I was fully drawn into What Remains, choreographer Corrie Befort's newest piece. Surrounded by pie-eating partygoers, McBean bobbed and twitched like a nervous ghost, almost gleefully alienated from the crowd of nine people around her . . . This section followed a more stark but just as compelling solo by Beth Graczyk, whose grounded, full-bodied presence made her every gesture and motion magnetic.”
- The Stranger, Bret Fetzer
“Rapturous” - New Dance Cinema on Rota
“The moment that came closest to the spirit of the project (Composer/Choreographer 6) . . . (was in) Corrie Befort’s Brittle Thicket, when composer Tom Baker scattered handfuls of drumsticks that that dancers had carefully picked up off the floor at the opening of the work. As the lights faded away, we continued to hear them tinkle against the stage, echoing the distracted twitches and shifts of the movement we had just seen” - Dance Magazine, Sandra Kurtz
“55 Turn Handle is isolating and harsh. As three women shudder through the space, their relationships are about control and manipulation, more collision than contact . . . camaraderie twisted into competition . . .” - The Seattle Weekly, Sandra Kurtz
“Minnow is not a dance about endurance per se, but it mimics the intoxication of pushing the body to its limits, only to go beyond them. Befort sets up basic patterns and its simplicity matches the clarity of the movement . . . Even as their breathing becomes labored, the effect isn't harsh: The sound of their breath becomes a series of accents to David Stanford's shimmering electronic score.” - The Seattle Weekly
“Their Fold Upon Fold includes an enticing cascade of bamboo sticks that still haunts my ears” - The Stranger, Christopher DeLaurenti
“Dance focuses the viewer on bodies, so it's always at least subtextually sexual. Merge that with the sexually fraught medium of film, and you've got close-ups of delicate wrists and muscular thighs and all sorts of things. Befort's mid-street soaked-shirt freak-out in Rota is especially upfront about this theme.”
- New Dance Cinema 2006, The Stranger, Annie Wagner
“I had a kind of epiphany to the way Corrie Befort lowered her foot to the floor”
- Blog the Boards, Brett Fetzer |
