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.
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The aesthetic is clear: a laboratory, all clean, ergonomic surfaces and clinical shiny spaces. Like any future focusing corporation, this is full of smiley, benign worker ants in preppy, GAP like workwear. But this is no prosaic company—this is Nu Life, run by the sinister, megolamaniacal Dr Coppelius. Prototypes of a new doll litter the workspace: arms, heads and swipable screens, where a sex doll—very reminiscent of cinematic babes a la Metropolis, The Fifth Element or Akira are being produced, en masse. Welcome to a clone for the dystopian tomorrow we've been warned about.
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Scottish Ballet “Coppélia” by Jess and Morgs. Photograph by Andy Ross. (1)
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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.
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