Dance Floor Liberation
Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
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There are two very distinct strands to Richard Alston's choreography. The first is a provocative, experimental path, where Alston's eccentric musical choices dictate the shifts and twists within. The second is a more classical, traditional route. Yet, both are never too sentimental or frilly, in spite of the craftsmanship. His is a “get on with it” approach, and there is an enormous amount of heart and humour, so it's really heartbreaking to think there have been recent cuts to the company, and they're winding down.
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Pierre Tapon, Nancy Nerantzi, Anelli Binder in “Isthmus.” Photograph by Tony Nandi
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Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
Continue ReadingChoreography wasn’t on Lia Cirio’s radar when artistic director Mikko Nissinen asked her to participate in Boston Ballet’s ChoreograpHER initiative in 2018. The principal dancer had always thought, “Oh, that's not something for me. I just like being in the room and helping people and being choreographed on.” But her good friend and colleague at the time, Kathleen Breen Combes, gave her a nudge.
Continue ReadingIngrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
Continue ReadingFrench choreographer Lea Tirabasso makes dense, intricate work which explores existential concerns connected with science, nature and morality. Witty, vivid and visceral, her work pushes beyond simple genres or choreographic language, creating something far richer and more complex. Her most recent piece, “In the Bushes” is part of the Edinburgh Festival this year. Fjord Review caught up with Léa Tirabasso ahead of the Summerhall run.
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