Golden Touch
Ingrid 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 ReadingWorld-class review of ballet and dance.
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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Ingrid 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.
Continue ReadingWhy Not Theatre’s bold, multidisciplinary adaptation of the Mahabharata drew a rapt audience at Lincoln Center’s vibrant summer arts festival “Summer for the City.”
Continue ReadingStephen Petronio has an odd way of celebrating his 40th anniversary. He and his board have decided this season will be the company’s last.
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