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I think the moment I surrendered all critical faculties in regard to Mark Morris Dance Group was midway through Lucky Charms, when the dancers all screamed. Or maybe it was during Dancing Honeymoon, when they started throwing folding chairs to each other. Or was it the four times I teared up as the curtain came down on the whole group spinning like tops at the end of Rhymes With Silver. I’ve been delighted, terrified, and heartbroken in the presence of this man’s dances for 15 years now, and the former “bad boy” of ballet-based, folk-infused modern choreography keeps on peaking like a well-whipped meringue. His works have spawned and participated in an intense dialogue about the direction of modern dance, each creation a rebuke or provocation. The four works being presented this weekend cover the spectrum of these arguments: 1982’s New Love Song Waltzes invents a pantomime vocabulary more rich and sweeping than that of ballet, gesture describing text and vice versa, so the emotional narrative of the movements and Brahms’ music is clear even if the German words are not. Morris’ indifference to postmodern cynicism is manifest in the tender, bawdy couplings of Going Away Party, even while he revels in the appropriative possibilities of Bob Wills’ honky-tonk music. The much-heralded V (an evolution of the sacred X of his first famous work, Gloria) signals a return to Schumann and shape-making (pictured), while Serende tips a hat to the matchless Balanchine, in the last collaboration between Morris and Lou Harrison. The program begins at 8 p.m. Saturday, March 8, at George Mason University’s Center for the Arts Concert Hall, 4400 University Drive, Fairfax. $21-$42. (703) 218-6500. (Arion Berger)