PREVIEW Have you ever heard of an "inter-corporeal kaleidoscope of flesh?" Neither have I. This intriguing mouthful is one of the labels Jess Curtis has affixed to his latest performance experiments in physicality. Yet for all his theoretical underpinnings, Curtis is a man of the theater. These days the choreographer, who started with Contraband 20 years ago and now lives and works part-time in Berlin, questions the act of performance what it means to him, and what it means to us. Fallen (2002) and, particularly last year's Under the Radar, offered highly imaginative and exquisitely structured possible answers to big questions on that subject. Curtis's latest endeavor, Symmetry Study #7, premiered in Berlin last September. In it, he partners with Maria Francesca Scaroni in a series of improvisational encounters performed in the nude. The idea behind these couplings is to examine connection and separation on the most fundamental level and what they do to our perception of self. It sounds a bit like the Greek concept of the original human who was cut in two and forever tries to reunite with the other half. In contrast to the American premiere of Symmetry is the Jess Curtis/Gravity companion piece and a world premiere, Asymmetrical Tendencies, performed by Croi Glan Dance, a company of performers of different physical capabilities. Two very different Irish dancers, former Bay Area resident Tara Brandel and Rhona Coughlan of Croi Glan, also perform.