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.
PlusWorld-class review of ballet and dance.
Stories are embedded in the dances of Gregory Maqoma, the South African choreographer and dancer whose work, “Broken Chord,” is currently at the Brooklyn Academy of Music’s Harvey Theater. In both “Broken Chord” and “Cion: Requiem of Ravel’s Boléro,” which came recently to the Joyce Theater, the human voice, danced rhythm, and the material of the stage itself become essential ingredients in the expression of a deep emotional truth. That truth, in turn, is based in history and experience. The whole body is involved, as are the senses: sound, vision, the audience’s and the performers’ inner vibrations. In the case of “Broken Chord,” even our sense of smell is affected through the use of a censer that emits billowing clouds of fragrant incense.
Performance
Place
Words
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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