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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When you’ve seen a hundred modern (and postmodern and contemporary) dance productions, with their twisted postures and gasping contractions, it’s easy to forget where it all started. When Isadora Duncan took to the stage at the turn of the twentieth century, she dazed the establishment by rejecting the upright postures of ballet, insisting that beauty—and with it, artistic dignity—could be found in a looser, more grounded form. “Isadora Now” spotlights Duncan’s vision, celebrating her work as the Mother of Modern Dance and contemplating its impact today. That it’s been produced by a distinguished classical dancer, Viviana Durante, is proof positive of Duncan’s rousing influence—the inspiration and empowerment her legacy has seeded in dancers of all backgrounds.
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Begoña Cao in “Five Brahms Waltzes in the Manner of Isadora Duncan“ part of “Isadora Now” by Viviana Durante Company. Photograph by David Scheinmann
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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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