In the ever-evolving world of contemporary dance, Beth Corning’s Foolish Assumptions stands as a daring exploration of human connection—both literal and metaphorical. This production, the latest iteration of CorningWorks’ signature style, challenges audiences to confront the uncomfortable truths behind our assumptions, much like her earlier work Fill These Shoes, which forced viewers to question the boundaries between reality and perception. What makes this piece particularly fascinating is how Corning’s approach mirrors the tension between art and authenticity, a theme that resonates deeply in an era where creativity often feels increasingly disconnected from lived experience.
Corning’s career, spanning over two decades, is a tapestry of cross-cultural influence and emotional honesty. From her New York roots in the 1990s to her recent collaborations with puppeteer Tom Lee in New York’s La MaMa MOVE SERIES, she’s consistently sought to dismantle traditional narratives around identity and performance. Foolish Assumptions is no exception; it begins with a quiet, almost ritualistic moment where Corning and Evan Fisk sit on stage, their backs to the audience, locked in a stillness that feels both intimate and existential. This pause is not merely a technical choice—it’s a deliberate act of vulnerability, urging viewers to pause and listen, as if the stage itself is a character waiting to be understood.
The production’s sparse, minimalist design is a stark contrast to the emotional weight of its content. Corning’s instruction to “every breath counts” and “every gesture counts” underscores a philosophy that prioritizes clarity over spectacle. This approach is rooted in her belief that art should not be a distraction but a mirror reflecting our innermost doubts. When she says, “I don’t want to feel alone in what I’m feeling,” she’s not just speaking to the audience; she’s inviting them to join her in a collective reckoning with the fragility of human connection. The absence of props, costumes, or staging forces viewers to focus on the performers’ physicality, making every movement a conversation between the dancer and the viewer.
What makes Foolish Assumptions so compelling is its ability to translate abstract concepts into visceral experiences. The duets and solos explore themes of miscommunication, cultural dissonance, and the invisible barriers that separate us. Corning’s collaboration with Fisk, known for his iconic portrayal of Macbeth in Sleep No More, adds layers of complexity to the performance. Their dynamic is not just about choreography but about the friction between expectation and reality—a tension that mirrors the broader societal issues of our time. As Corning notes, “This work is a call to question the assumptions we carry, whether about ourselves, others, or the world around us.”
The production’s success, particularly its packed La MaMa performances, suggests that Corning’s work is not just about pushing boundaries but about creating spaces where discomfort becomes a catalyst for growth. In a landscape where art often prioritizes escapism, Foolish Assumptions offers a counterpoint: a reminder that true connection requires vulnerability. It’s a piece that challenges viewers to look beyond the surface, to see the humanity in the unspoken, and to recognize that our most profound truths often lie in the gaps between our assumptions.
Personally, I find this work profoundly unsettling yet necessary. It’s a reminder that art, in its rawest form, is a mirror held up to our own flaws. Corning’s insistence on sparseness and emotional honesty challenges the industry’s tendency to prioritize spectacle over substance. Her work is a testament to the power of simplicity—when stripped of excess, even the most complex ideas become accessible. As we navigate an age of rapid cultural shifts, Foolish Assumptions serves as a quiet yet powerful reminder that the most meaningful art arises from those who dare to confront the unknown. In a world that often seeks to comfort us with certainty, Corning’s production asks the question: What if the truth we’re looking for is not in the answers, but in the questions?
