Affectations Mar Winthrop Troupe’s Program

Art may imitate life, but when so-called art tries to imitate itself, the result may not always satisfy; preciousness dominates. Such was the case with Nina Winthrop and Dancers, a New York-based company that presented “Stirrings” at the Electric Lodge in Venice on Friday.

Conceived and choreographed by Winthrop, the program consisted of three works new to Los Angeles and one short film. Punctuated with affectations that insisted on emotional responses as opposed to warranting them, the evening was elevated by Jon Gibson’s stunning accompaniment on sax and flute.

“Stalling Into Elation” featured dancer Amanda Loulaki executing slow, Butoh-like moves as her cinematic counterpart, projected on screen behind her, did the same. Fugal in nature, but disconcertingly off the beat, the two figures nearly canceled each other out.

Morleigh Steinberg’s eloquent film, “Stir,” showcased the beautiful Kristen Hollinsworth in a seaside villa. Ambling gracefully throughout the manse and occasionally confronting the camera in full pout as if romping in a Calvin Klein ad, she ultimately glimpses an older woman in the mirror, thus posing the question of time’s ineffable passing.

“Duelle,” performed by Brad Mackenzie, Jenny Argyriou and Loulaki, saw the women displaying unison moves, many yoga-based, as Mackenzie, looking deadly earnest, periodically partnered Loulaki in this impersonal triangle. Carrie Ahern joined the above trio in “Three Lives and Something,” with the performers separately traversing through Jene Highstein’s fabric doors, hammering home isolation motifs. Overall, Winthrop’s movement vocabulary, lacking fluidity, stutters before finally losing impact.