Dance
Flamenco is big, bold, and fully human as it (often) traces the tensions of courtship, indulging in the sensual and the aggressive.
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In “BLACK HOLE,” the TRIBE trio moves as if learning for the first time how their skeletons and muscles are constrained and empowered, perplexed and bedazzled, by gravity’s incontrovertible power.
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The point was clear: we had been watching an elaborate invitation, a dance made to tempt the magical crows.
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Too, too soon, the images in MOMIX’s “Alice” alternate between unpleasant and stale.
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As the first draft of documenting choreographer Alexei Ratmansky’s career, this book will be invaluable, but by the end of it, the story may look somewhat different.
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In this rigorous, timely dance-theater work, the performers provide a challenge to our beliefs and a salve for our hearts.
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Grupo Corpo’s dancers are as technically astute as other top dance companies, but they excel at conveying a lushness of movement that feels sensual rather than sexual.
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We’re not saying get rid of “Madama Butterfly” We’re saying do a better Butterfly.
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While the experience is new and otherworldly, it was daunting to realize that it had taken over a decade for Compagnie Käfig’s exercise in cutting-edge art and technology to reach the hinterland of Jacob’s Pillow.
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The two vintage works on the program at Jacob’s Pillow demonstrated, in a palpable manner, to what extent Martha Graham’s work changed everything.
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