Super Nothing
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
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Rambert's latest touring production is a slippery thing, with all the fragmentary structure of a fever dream and featuring enough dark imagery to induce night sweats. Inspired by Pedro Calderon de la Barca's 17th century baroque play, the original narrative focused on a Polish prince who is imprisoned by his father, only to escape for one day and see the perspective of another world. Danish born, Britain-based Kim Brandstrup's meta choreography uses this as a jumping off point. Here, he taps into the many hidden layers of the subconscious, the activity of the mind in its dreamlike state. This is both blessing and curse, as the elusive quality which governs the piece makes it hard to warm to—initially, at least.
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Rambert perform “Life is a Dream” by Kim Brandstrup. Photograph by Johan Persson
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In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
Plus“Well, it’s big,” Seattle ballet fans were saying as they headed into McCaw Hall’s sleek sanctuary of velvet settees and shiny metal staircases.
PlusNever forget!” With the 80th anniversary of the liberation of Auschwitz and International Holocaust Remembrance Day both having been recognized last month, these words, although unspoken, coursed through Melissa Barak’s first evening-length ballet, “Memoryhouse.”
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