Questo sito non supporta completamente il tuo browser. Ti consigliamo di utilizzare Edge, Chrome, Safari o Firefox.

Latest


Ballet Hispanico
REVIEWS | Di Lorna Irvine

Treat 'Em Mean...

What a beguiling double bill ... Esteemed American company Ballet Hispánico bring the heat to a particularly biting and misty Edinburgh. It's passionate, inventive work to immerse yourself in, evoking long, hot summer nights. We can but dream.

Continua a leggere
Divergence
REVIEWS | Di Rachel Stone

Divergence

There’s a moment at the end of Balanchine’s “Divertimento from Le baiser de la fée” in which the two principal dancers embrace center stage, the heroine of the ballet grasping her hero’s waist, leaning on a bent leg on pointe, arched over completely backwards. “It’s as if she contains two different forces at the same time,” New York Times critic Alastair Macaulay writes:

Continua a leggere
A Welcome Redress
REVIEWS | Di Sara Veale

A Welcome Redress

In the ballet world, female choreographers remain, unfortunately and infuriatingly, the exception rather than the norm. Ballet British Columbia artistic director Emily Molnar shines a spotlight on this imbalance with a new bill of ballets from Crystal Pite, Sharon Eyal and herself—a welcome redress to a centuries-old deficit, made even more so by its cool absence of progressive intent. The programme champions women not by specifying feminist themes but by simply making space for female dancemakers to present their choreography—a resounding statement in itself.

Continua a leggere
Cutting Loose
REVIEWS | Di Gracia Haby

Cutting Loose

At the Kier Choreographic Award semi-finals my shoes cut loose. At the Kier Choreographic Award semi-finals, independent of me, that is, my shoes cut loose. Lobbed by an enthusiastic audience member, relishing their liberty, my left shoe, it flew across the dance floor, airborne and free. It landed with a thud. The right shoe, it was a log that tripped another audience member mid-dance, before it transformed from obstacle into a fish flipping on land. My shoes, free of me, had the night of their lives, I expect. And when it came time to collect my shoes from the stage,...

Continua a leggere
Sasha Waltz Korper
REVIEWS | Di Sara Veale

Tableaux Vivants

“Körper” is a study of the human body, a deep-dive into its physical form as well as the outside forces that shape our grasp on anatomy, sexuality and mortality. Sasha Waltz, one of Germany’s foremost dance theatre choreographers, created the work in 2000 as the first in a trilogy, and it’s since toured some 50-odd cities, dividing audiences around the world with its unyielding pitch and arduous manoeuvring.

Continua a leggere
Marie-Agnès Gillot
REVIEWS | Di Jade Larine

Too Big to Fail

Marie-Agnès Gillot is one of a kind, one in a million. She has arms and legs for days, which she sinuously moves like tentacles, spectacular extensions which she uses as air-piercing arrows and a stage charisma that could hypnotize you from the highest gallery seat. A Guillem-like dancer of intense virtuosity, she had world-class potential. But she’s never completely made the most of it and her final “Boléro” translates just that. Her 20-minute solo indeed read like a resigned swan song: yet, a beautiful one.

Continua a leggere
Divertimento No. 15
REVIEWS | Di Oksana Khadarina

Divertimento

The David H. Koch Theater looked particularly festive during New York City Ballet’s winter season. Nearly 200,000 balloons of different sizes and colors, assembled in elaborate garlands and constellations—a pop art installation by the Turkish-American visual artist Jihan Zencirli (a.k.a. Geronimo)—transformed the theater’s atrium into something akin of a gigantic playground.

Continua a leggere
Inspired Steps
REVIEWS | Di Rachel Howard

Inspired Steps

I don’t think I can avoid beginning this review on a personal note. I found Episcopalian Grace Cathedral at age 25, because I lived two blocks down Nob Hill and couldn’t figure out what else to do on Easter morning, never guessing I would convert and still worship at Grace 18 years later. KT Nelson, cofounder and one of two main choreographers at ODC/Dance, San Francisco’s most prominent contemporary company, found Grace via a more circuitous route. Hearing Joby Talbot’s choral score “Path of Miracles,” which dramatizes a pilgrimage along Spain’s famous Camino de Santiago, led Nelson to a five-week...

Continua a leggere
Pina Bausch
REVIEWS | Di Sara Veale

Universal Yearning

When Pina Bausch embarked on her World Cities series in the ’80s, striking up temporary residencies in locales as far-flung as São Paulo and Santiago, she sought to capture the wrenching needs, desires and fears that unite people the world over. The dance theatre works created during these sprees are searching and seductive, mingling lust and passion with darker human instincts. Some relay literal imagery and music picked up during the company’s travels, while others revel in abstraction, foregrounding sentiments inspired by their stay but only occasionally reflecting a city’s particular history and ambiance.

Continua a leggere
A Numbers Game
REVIEWS | Di Penelope Ford

A Numbers Game

“Project 7,” choreographer and director Kylie Thompson revealed, was the working title of her new piece, named for the seven dancers of her eponymous pick-up company. On the meaning of the ultimate title, “33/33,” she was less forthcoming, hinting only at numerology as a driving theme. In the post-performance chat, lighting and projection designer, Simon Clemo reminded us: “Everything you need to know about the work is contained in the work,” his words and designs taking cues from the Russian avant-garde, and the Suprematism movement of 1930s.

Continua a leggere
Disruptions
REVIEWS | Di Lorna Irvine

Disruptions

On the face of it, these two short pieces performed by the mighty Scottish Dance Theatre have little in common. They create two very distinct worlds. Yet they both deal in disruption of form, and riff on well-known themes which touch our lives. Artistic director Fleur Darkin invites the audience to spot the link between two such disparate works, and as both pieces expand, so the similarity is revealed.

Continua a leggere
Good Subscription Agency