Dance
Elizabeth Howard talks to Stephen Petronio, choreographer, dancer, and the artistic director of the Stephen Petronio Company, about what plans forward-thinking artists have for the future.
I can still feel the exhilaration, the rush of the opening of things, from that day.
Texturally, François-Xavier Roth and Les Siècles’ serve up diaphanous performances.
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.
Body and Soul generates a whirligig of passions — joy, frustration, pleasure, and rage.
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.
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