World-class review of ballet and dance.
Now, it seems, more than ever, do we need art. And while Covid continues its assault on a huge swath of our population, relief came to this reviewer in the form of a live-streamed concert by butoh master Oguri. Bringing laser-like intensity to each and every performance while simultaneously creating portraits of staggering resilience, this supreme mover continues to surprise, stun and satisfy with his dances, whether solo or in conjunction with others.
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In this era, when we think of dance and the body, we often overlook the material accoutrements and technologies that support and enhance performance. Fortunately, there are many dancers, choreographers, companies and performers who explore the body and its ‘mechanical’ extensions.
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It's being mooted that Tokyo, and Japan as a whole, escaped the full brunt of the Covid-19 pandemic and its catastrophic effect on the world's population and global economy. The number of cases is relatively low when compared to Europe and the US, and the number of deaths or serious cases decreasing daily. When Yuriko Koike, Governor of Tokyo, introduced a lockdown in the spring of 2020 the city became a wasteland for a few months with most people working from home and bars, restaurants and retail stores either closed, operating on limited opening hours or completely empty.
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There is a global and personal story behind “Ink,” the new creation by Dimitris Papaioannou that premiered in September in Turin, Italy. Just before the European lockdown, the Greek artist was working on his new creation (still untitled): a piece for seven performers which was supposed to debut on the 6th of May at the Onassis Cultural Centre in Athens, an international co-production involving thirteen main institutions, among them the Avignon festival, Lyon Dance Biennial, London Sadler’s Wells, Paris’s Théâtre de la Ville, Napoli Teatro Festival.
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On September 10th, the Bolshoi Theater opened its 245th ballet season with a surprising premiere. “Four Characters in Search of a Plot” ("Четыре персонажа в поисках сюжета") featured four young international choreographers, making their debut with Russia’s esteemed ballet troupe. Commissioned were an hour-long piece,“The Ninth Wave” by Bryan Arias (Puerto Rico) and three 15-minute works, “Just” by Simone Valastro (Italy), “Fading” by Dimo Milev (Bulgaria) and “Silentium” by Martin Chaix (France).
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When German poet Heinrich Heine wrote De l’Allemagne (“On Germany”), which was published in Paris in 1835, he couldn’t have imagined that two short paragraphs from his book, where he so evocatively and vividly described an ancient Slavic legend of the Wilis, betrothed young maidens who perished before their wedding day, would inspire “Giselle”—one of the most enduring and popular ballets ever made—the quintessential Romantic-era classic.
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When Alexei Ratmansky was commissioned to create a new version of “Cinderella” for the Mariinsky Ballet, in 2002, he was an up-and-coming choreographer, virtually unknown in the West. In Russia, however, he was already regarded as a promising talent and a new hope.
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What was live, I can pause, and it occurs to me that not being able to conveniently pause a live performance was one of the things I most enjoyed about it. It was live. It is live. It was/is roaring along, independent of my will. And in having no control over any part of its trajectory, I disappeared completely, in the best possible sense. I wasn’t me in the theatre or hall, but a series of notes, a flurry of limbs, a lightness, an extension, particles illuminated by stage lighting; anything. In this freedom, a different kind of pause. A...
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In the beginning of August, Marquee TV—a performing arts streaming platform—unveiled its inaugural “Summer Short Film Festival,” a curated selection of 28 short films of dance and music from around the world. The festival is a result of the partnership of Marquee TV with the San Francisco Dance Film Festival and Scotland’s Screen.dance festival. All the entries of “Summer Shorts” are offered for free viewing until the end of the month.
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Real live dancing! In other times those three words might connote a neon sign outside a strip club. But in the time of Covid-19 you can simply take them at face value. And in this case, they refer to the highbrow shows of the Kaatsbaan Summer Festival, where a rotating cast of stars from the NY dance scene are performing on weekends all summer long. Stella Abrera, whose retirement performance as a principal dancer with the American Ballet Theater was canceled due to the pandemic just months ago, is already flourishing in her second career as artistic director of the Kaatsbaan Cultural Park in Tivoli, NY. In fact, she and executive director Sonja Kostich have managed to pull off quite a feat, holding the only live dance performances pretty much anywhere in the United States this summer. I lucked out: for the last five months...
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Despite what the world is suffering this year, two of Europe’s most prestigious international summer dance festivals commit to go forward with drastically truncated, yet vital and imaginative programs. Berlin’s Tanz im August, under the artistic direction of Virve Sutinen, and the Venice Biennale’s Festival Danza under Marie Chouinard’s curatorial leadership will open in late August and mid-October respectively. Each artistic director spoke with me via Skype and Zoom recently about the hardships and angst of redesigning their festivals during this brutal pandemic. This month, we feature Tanz im August and how they pivoted from cancellation to a ten-day online...
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Edinburgh is quiet. In August, the city normally swells with people jostling to get into theatres, pubs, shipping crates, beer gardens, and tents. The festivals are a key part of Edinburgh’s identity, and while there are often murmurs within the industry that a break from, or a scale back of the festivals wouldn’t do the city any harm, nobody wanted a break this way.
Continua a leggereWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continua a leggereThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continua a leggereAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continua a leggereAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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