Marcia B. Siegel
Now, we’re told, Trajal Harrell has been researching Butoh dance and hoochy coochy dance, hooking them up with the precursors of modern dance and slathering on generous amounts of gender theory.
Jerome Robbins makes me think about how nonverbal characters can inhabit their times.
Choreographer Paul Taylor leaves a repertory that sprawled from the outrageous to the sublime.
La Sylphide is full of magic. It might be about magic.
Going beyond the reasonable concept, there was the New York Theatre Ballet’s performance.
Sutra was a curious mix of reverence and virtuosity, lavish movement and intricate music — over an hour’s worth of changing forms. I found it intriguing and untrackable.
Kelley Donovan believes every dancer should own her movement, not just perform it.
What a treat to see choreographers of different generations concentrating on ballet itself and asking the audience to appreciate what ballet can do.
The show, organized by associate director of BB II Peter Stark, was built to show off the talents and challenge the performing chops of the young dancers.
Performance has always included sex and physicality in its attractions. Koubi’s work tries to move the spectators to a higher level.
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