Sharing a dance concert is usually a question of financial exigency for the young choreographer. However, the joint program presented at the Dance Place last night by Lynda Gattozzi and Rosemary Nolen was a nearly uncanny display of shared sensibilities that might best be described as stolid. Their communal vocabulary favors the thrust hip and the forced arch, and a squarely two-dimensional use of the body. Their choreographic constructions also run to the square and predictably symmetrical. Their accompaniment tends to rock standards for which they supply a literal rendering of the overlying beat. Their performance style has the aloof "coolness" popularized by Twyla Tharp. They even look alike.

Each of the choreographers presented a premiere for this program. Nolen's work in five sections, "Over Time," displayed how the simple act of walking could be transmuted by the processes of deconstruction and exaggeration. The only memorable section, "Mesh," was odd and shy and playful and charming, and it had the wit to which the other sections aspired but missed. However, the tension and temper of the Talking Heads accompaniment overpowered "Give and Take"; "Retreat," a delicate exercise in mimicry and protective coloration, grew tedious in the naivete' of its dynamics.

Gattozzi's "In Common," a static series of poses, was a visualization of the moods expressed in seven rock songs. The '50s pastels in which Gattozzi and Nolen were clothed and the vacuity of the rock lyrics set the mood for this bit of melt-in-your-brain cotton candy. It is true that the simplicity of subject was in some measure the ideal material for Gattozzi's style, but its slightness of conception proved unsustainable over the length of this work.

Completing the program were Gattozzi's "Close Calls" (here presented as three discrete parts) and her "Bibelot," which was superbly performed by Anne McDonald.

The program will be repeated tonight at 8:30.