Stars of the International Ballet Stage
The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
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In 1975, Laura Mulvey first came up with the term “the male gaze,” where the assumption, particularly within the media, was that those consuming and watching most art forms were male, or male identifying, hence the need for women being represented as mere window dressing and sexually appealing objects. This was largely ubiquitous in film, art, pop videos and on fashion runways—even in dance productions. However, with strides being made in contemporary society in recognising that gender is largely a construct, and that it's no longer about male and female, but rather than gender can also be trans, fluid and/or non-binary, said male gaze is becoming increasingly redundant and reductive. With choreography from Marne and Imre van Opstal, Eye Candy for Rambert plays with this idea.
Rambert in Marion Motin’s “Rouge.” Photograph by Camilla Greenwell
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The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
Continue ReadingWhile Kendrick Lamar performed “Humble,” during his Super Bowl halftime set and was surrounded by dancers clad in red, white and blue—and in the process assumed the formation of the American flag (choreographed by Charm La’Donna)—so, too, did Faye Driscoll use performers who created slews of shapes/sculptures in her astonishing work, “Weathering,” seen at REDCAT on February 8, the last of three sold-out performances.
Continue ReadingLet’s start with the obvious, or maybe to some this notion will be highly disputable, even offensive. OK, then, let’s start with what kept repeating in my head as I walked out of UC Berkeley’s Zellerbach Hall, synapses abuzz with the wonders of Twyla Tharp Dance’s 60th anniversary “Diamond Jubilee” program: My God, Twyla Tharp really is the most brilliantly inventive choreographer now alive on the planet.
Continue ReadingIn Maldonne, French filmmakers Leila KA and Josselin Carré pose eleven women side by side on a barren stage. They’re dressed in floral patterns that hearken to the 1950s. The camera zooms in to frame their faces—each woman is in a state of distress.
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