Next Generation
A ballet body is essentially a deformed body. The older and more experienced the dancer, the more evident–and beautiful–this deformation is.
Continue ReadingWorld-class review of ballet and dance.
In the Upstairs Studio at Dancehouse, Rosalind Crisp hands me a small card which invites me to “Please sit where you want and move wherever you want.” She motions to the small light fixture on the wall, should I need it, to illuminate the printed text. I hold my card up to the light, following the person before me, and read the second sentence which grounds the first: “while I made 23 contemporary dance pieces for the moment we extinguished 23 Australian bird species for ever . . . ” A warm welcome note with a sobering tail, it sets the tone for an ‘of sorts’ retrospective by one of Australia’s most rigorous and significant dance artists.[1] “The real time it takes,” heralds the promotional material, promises to be celebration of “40 years of relentlessly undoing dance” by the “Mick Jagger of Australian dance.” On opening night, a series of lines from extinction risk status to legendary status hover in the air, and all before I’ve found a place to perch.
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A ballet body is essentially a deformed body. The older and more experienced the dancer, the more evident–and beautiful–this deformation is.
Continue ReadingAfter a successful dancing career with, among others, Dutch National Ballet, Finnish National Ballet, and finally San Francisco Ballet, where he was a principal dancer for a decade, Mikko Nissinen has proven himself a strategic, forward-looking and beloved artistic director of Boston Ballet.
FREE ARTICLETo celebrate its 85th anniversary, the American Ballet Theatre filled its summer season with exciting debuts.
Continue ReadingThe world-renowned Czech choreographer and multimedia artist Jiří Kylián was recently honored with a retrospective festival at the Oslo opera house.
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