From Street to Stage
Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
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I want to find dance’s “fundamental feature” [note]Camera Lucida: Reflections on Photography (abbreviated CL). Translated from the French by Richard Howard. (New York: Farrar, Straus and Giroux, 2010 paperback edition), 9[/note] as Roland Barthes, in his 1980 Camera Lucida, did for photography. [note]Please see essay #1 of “Between the Dancer and the Dance” for what the French critic Roland Barthes has to do with anything. [/note] I’ll begin, like him, with the peculiar mechanism by which the idiom (photography for him, dance for me) transmutes its raw material into art. The machinery, if not the alchemy, of sign-making, as the French semiotician might have it.
Dancer of the Bolshoi Ballet. Photograph by Gérard Uféras
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Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
Continue ReadingThe legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
FREE ARTICLEThe Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
Continue ReadingDespite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
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