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LINES Ballet's Mod Sets

Last week I had the pleasure of seeing Alonzo King's LINES Ballet's new production "Triangle of the Squinches" at the Yerba Buena Center for the Arts. King has long been a San Francisco dance mainstay, a restless choreographer whose dazzling, athletic dances blur the lines between modern and classical ballet. For this performance he had two key collaborators: percussionist Mickey Hart (of the Grateful Dead), and architect Christopher Haas who did the sets. Haas's best known work to date are likely H.M. de Young Museum in San Francisco and 1111 Lincoln Road in Miami, two projects he managed for Herzog and de Meuron. After seeing the show, I had a chance to talk with Haas about the sets he designed for King. Have a look at the photos in this slideshow and read more about Haas's work. And if you're in the Bay Area, don't miss Triangle of the Squinches, which shows until Sunday, April 24th.

Haas designed two different sets for the two acts of the ballet. The first was a long curtain of shimmering, gossamer elastic cords. Almost immediately the dancers created three triangular gaps in the curtain, setting up one of the central activities of the ballet: interacting with the set. "I'd thought of three or four different things for the sets," Haas told me, "but finally only two were strong enough and had enough layers of usage to really work." Photo by Angela Sterling.

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