Director's Cut
Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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Superlatives seem useless when making reference to Pina Bausch and her vast legacy. Words seem reductive. How to define the woman who was a genuine game changer in pushing the boundaries of dance theatre, whose iconoclastic approach sometimes left audiences—and some of her dancers alike—punch-drunk, and in tears? She often experienced walkouts, heckling, disgust from stunned crowds. She was once berated by The New Yorker critic Arlene Croce for deploying, as she saw it, the “pornography of pain,” and exploiting the women. Croce even found some of the work “misogynistic.” Harsh and a little myopic perhaps, but indeed, Bausch didn't shy away from depicting violence, sexual or otherwise, within her repertoire. Degradation, rape and humiliation were common themes for her.
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
Continue ReadingThe Trisha Brown Dance Company embarks on a national tour this June celebrating the centennial of avant-garde American visual artist Robert Rauschenberg.
Continue ReadingFor Ballet Hispánico’s upcoming season at New York City Center from May 29-June 1, the company will present Gustavo Ramírez Sansano's “Carmen.maquia,” a contemporary take on the timeless story at the heart of George Bizet’s unforgettable opera “Carmen.”
Continue ReadingAngelina Laguna kneels on the sidewalk and places her body perpendicular to the flow of the First Avenue foot traffic.
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