...we really are short-changed in not seeing these dancers more regularly.
Tag - Joyce Theater
It’s nice to change one’s mind about a choreographer once in a while. I’ll come clean: for all their craft and lucidity, I’ve generally found Pam Tanowitz’s dances exceedingly dry, like meticulously-put-together exercises.
Like most dances with folk roots, flamenco suffers somewhat from being cooped up in a theatre. It is, at its heart, a participatory and spontaneous art...
San Francisco Ballet continued their East Coast season with the New York premiere of Christopher Wheeldon's Cinderella. The staging is lavish...
Houston Ballet made a quick visit to the Joyce in NY last week. Its single program included works by Mark Morris, Ben Stevenson, Hans van Manen and Stanton Welch - Marinna Harss reviews...
The Contortions of Contemporary Ballet, Put to Use... for a while.
The Ballet v6.0 Festival has just been on at New York's Joyce Theater and Marina Harss was there for. So where are young choreographers taking contemporary ballet...?
A Bend in the River is innovative on many levels, but, like all successful advancements, feels both true to its sources and utterly unique.
Even more than with other choreographers, the costumes and sets are essential elements of Graham’s dance imagination. Think of Martha’s stretchy sack-dress in Lamentation, or the prickly metal tree-dress by Noguchi in Cave of the Heart. They are extensions of the dancers’ bodies, and of Graham’s Jungian world-view.
To preserve or to progress? And if the latter, how? These questions seem to come up increasingly often as companies grapple with the death of their founding choreographers, artists who created importantant schools of dance in their own image.
Eiko and Koma are now in their sixties. What stays with you is the image of those bodies, tormented, trembling, vulnerable, but ultimately indestructible.
Dance is a difficult thing to experience outside of the theatre, but for the sustainability of the artform it has to find a way to make itself more widely available.
...it’s that ambiguity in their performances — the tension between seriousness and satire — that makes the company such a joy to watch.
More than sculpture, the choreography reminded me of exhibitions of body-building.
Over the course of an hour and a half the story is told, more or less, twice: first in swift pantomime (aided by projections) and then in a series of more intensely danced interludes.
Within (Labyrinth Within) is no masterpiece, but it presents exciting possibilities for contemporary ballet while avoiding the hyperextended steps and sexual clichés that muddy so much of the field.
Shivalingappa first caught my eye at the 2007 Fall For Dance festival, where she danced Varnam, a Kuchipudi solo. I was immediately struck by her musicality, the power and precision of her footwork, and the absolute clarity of her movements. And to the grace of her upper body and a jump that seems to comes out of nowhere, light and airy as a cat’s.
I believe that the current dancers have greater technical proficiency and more years of stage experience than previous members , and with those elements, Ballet Master Amy London's avid quest toward perfection can finally be realised.
Soledad Barrio makes every moment look improvised. You watch, you wait, and you hold your breath.
'Oh, Inverted World' is fun and fresh, and it proves McIntyre - who also leads his own company, the Trey McIntyre Project - to be a choreographer of many talents.