Dance
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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With great sightlines from every one of its 216 seats, the Doris Duke Theatre space made for intimate, often enthralling encounters with movement.
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“We will step to the edge of our humanity, expressing the commonalities that we all share, the threads that bind and connect us all.”
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Dance Review/Commentary: “The Grand Union” — The Story of the Accidental Anarchists of Downtown Dance
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.
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