Re-envisioning and performing this beloved classic ballet with dancers that identify as disabled seems to me to be the definition of courageous.
Bottom line: these are excellent performances and a valuable documentation of Elliott Carter’s early work.
Egon Wellesz’s Weimar era critique of the cruelty of nations that are victorious in war still rings hauntingly true.
The 51-minute piece represents a digital time capsule. It comprises 16 short episodes — reflections in movement of lives caught inside the pandemic — crafted by dance-maker collaborators.
Community is what I miss most of all the pandemic’s deprivations—doing stuff with others.
The film allowed me to see the dancers’ connections to each other, and their connections to the quarries themselves.
Dohnányi and Schnitzler’s “pantomime” The Veil of Pierrette receives its first, and resplendent, recording.
With great sightlines from every one of its 216 seats, the Doris Duke Theatre space made for intimate, often enthralling encounters with movement.
This fascinating book, and the rich literature of films and writings around it, have helped me feel a bit more positive about these shrunken times.
“We will step to the edge of our humanity, expressing the commonalities that we all share, the threads that bind and connect us all.”