Dance
Texturally, François-Xavier Roth and Les Siècles’ serve up diaphanous performances.
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Contra-Tiempo sees the pandemic as an invitation for transformation: the performance questioned who we are, how do we move among each other, and what gives us joy.
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Body and Soul generates a whirligig of passions — joy, frustration, pleasure, and rage.
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Re-envisioning and performing this beloved classic ballet with dancers that identify as disabled seems to me to be the definition of courageous.
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Bottom line: these are excellent performances and a valuable documentation of Elliott Carter’s early work.
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Egon Wellesz’s Weimar era critique of the cruelty of nations that are victorious in war still rings hauntingly true.
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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.
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Community is what I miss most of all the pandemic’s deprivations—doing stuff with others.
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The film allowed me to see the dancers’ connections to each other, and their connections to the quarries themselves.
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Dohnányi and Schnitzler’s “pantomime” The Veil of Pierrette receives its first, and resplendent, recording.
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