Not the dance step, carriage of hands or torso contraction but the common walk, conversational gesture and casual slouch were the choreographic building blocks favored by Sharon Wyrrick, Priscilla A. Barden and Dorothy Fried in yesterday's late matinee at Glen Echo Park.
It isn't easy to make the stuff of daily life sing or dance, and the work that came closest to extending technique of generating allusions was Barden's "What Do You Do With the Pieces." There was anger, and a touch of acrobatic madness, in the way in which she set two men and two women treading and gesticulating to a surrealist text and tune by George Riedel.
Wyrricks's choreography is more matter-of-fact. "Visitor" is a task game for a group of seven in which activities like folding chairs and swapping shirts become more difficult as the speed shifts and neat spacings vanish. At the end, there is always an odd man out against a cluster of others. "Interface" is an excercise for two women in tandem, and "Flux" a study in circling. The limited movement material and cautious variations confine Wyrrick's work to overly meticulous structures.
Fried's "Tri-Cycle" alternated waddling in silence and slow dance to bits of Shostakovich music. The one full-blooded dance was "One Red Herring," a somber solo with Spanish feeling impressively performed by Wyrrick. Its choreography was by Beth Corning, its music by Keith Jarrett and its intention undoubtedly was to draw the audience off the scent of the nondance dancer.