Into the Wilde
At a time when the arts in America are under attack and many small dance companies are quietly disappearing, San Francisco’s dance scene—for decades second in its volume of activity only to New York—still has a pulse.
PlusWorld-class review of ballet and dance.
At first, there is nothing—just the cream and brown clad figure of Scottish Dance Theatre's guest dancer Yosuke Kusano who walks across a wooden floor. As the floor is bare, so too are his very exacting movements, just enough to infer tension: minimal, sharp and mired in a kind of self-protective series of gestures. A hand is raised like an alarm signal. He tiptoes. He moves instinctively, his body governed entirely by the feelings that exist in that exact moment. Suddenly, he pulls at something just visible to the side of his shoulder—a strand of hair that is seemingly not his own. Golden wisps of hair are picked out by the light, and Kusano pulls carefully at the strands, then recoils.
Yosuke Kusano in Scottish Dance Theatre's new film, “Thin h/as h/air” by Pauline Torzuoli
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At a time when the arts in America are under attack and many small dance companies are quietly disappearing, San Francisco’s dance scene—for decades second in its volume of activity only to New York—still has a pulse.
PlusNoé Soulier enters the space without warning, and it takes a few seconds for the chattering audience to register the man now standing before them, dressed simply in a grey t-shirt and black pants, barefoot.
PlusIn the first few seconds that the lights come up on BalletX at the Joyce Theater, an audience member murmurs her assent: “I love it already.”
PlusThe right foil can sharpen the distinct shapes of a choreographic work, making it appear more completely itself through the comparison of another.
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