Goecke

Here, Goecke's dance vocabulary evokes silent-movie images such as Charlie Chaplin's waddle or the rubbery legs of the Keystone Kops.

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Firebird, a mysterious bird helps a prince in his quest for freedom - so Goecke layers his basic dance language with bird imagery such as wing-swept arms and tiny pecks and nods.

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Both pieces show off Goecke's signature style, embodied by little running steps on tip-toe, fluttering fingers, sharp and crisp arm and hand gestures, staccato body thrusts, unpredictable flicks and shrugs of the head and shoulders, and quicksilver footwork.

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While Goecke is restrained and minimal, Thoss covers the stage with excess, both in scenography and choreography.

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Hervé Courtain is simply magnificent in the lead, and Goecke places him in silvery light, surrounded by seven demons who drift in and out of the shadows.

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Marco Goecke, resident choreographer with both Stuttgart Ballet and Scapino Ballet Rotterdam, has invented a unique, truly unforgettable, dance vocabulary.

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Pankov has linked two of Goecke's works from 2010:

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In Goecke's second piece, Pierrot is not a commedia clown, but he descends into madness from his unrequited love for Columbine - the moon - signified by white balloons, becoming his obsession, his guide, his muse.

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What's astonishing is how Goecke modulates and manipulates his style to match each work.

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Goecke, a junior, scored a game-high 12 points for the Falcons.

HeraldNet.com Local, Sports, Business and Entertainment News 2010