« Previous  |  Next »

Dance Review | Paris Opera Ballet: Au Revoir to the Old, Bonjour to the New

PARIS Brigitte Lefèvre, director of the Paris Opera Ballet, didn’t let the grass grow under her feet when Wayne McGregor was appointed resident choreographer of the Royal Ballet in 2006. The next year Mr. McGregor created “Genus” for the French company, ...

From ROSLYN SULCAS, The New York Times,  22 Nov 2009

Related Topics: Royal Ballet,  Paris Opera Ballet,  Wayne McGregor,  Benjamin Millepied,  New York City Ballet

Dance Review | Royal Ballet: August Royal Ballet Bends Itself Into Contemporary Shapes

LONDON Britain’s Royal Ballet, an august repository of tradition the grand hierarchical company, the full-length narrative ballet, a pure English style seems like an unlikely incubator for the new. But Wayne McGregor’s appointment as resident ...

From ROSLYN SULCAS, The New York Times,  20 Nov 2009

Related Topics: Royal Ballet,  New York City Ballet

Theater Review | 'She Turned On the Light': Plot Twists Staged by a Choreographer

If you spend most of your time watching dance, it’s easy to feel taken aback by a certain staginess that actors can bring to performance, an “I am acting now” overtone that crops up even among the great and the good. (Recent experiences at “After Miss ...

From ROSLYN SULCAS, The New York Times,  17 Nov 2009

Dance Review | 'The Sleeping Beauty': A Princess Treats Her Suitors (and Audience) With Unflappable Cool

LONDON Soon after Princess Aurora, the heroine of “The Sleeping Beauty,” appears, she must dance with the four strange men her parents have just introduced to her as prospective husbands. That segment is known as the Rose Adagio, since each man ...

From ROSLYN SULCAS, The New York Times,  17 Nov 2009

Related Topics: Royal Ballet

Dance Review | Cave New York Butoh Festival: Japanese Form Mixes Discipline and the Elemental

Butoh, like flamenco, is one of those dance forms that are either all or nothing. If the performer is not imbued with both technique and (less quantifiably) the right spirit, you simply get no idea of what the experience of watching these arts can be ...

From ROSLYN SULCAS, The New York Times,  13 Nov 2009

Related Topics: Dance New Amsterdam,  Ko Murobushi

Dance Review | 'Serenade/The Proposition': Lincoln’s History, Melded With a Choreographer’s

Past, present, future. History, memory, experience. The recasting of history through memory and experience. All of these slippery subjects are the matter of Bill T. Jones’s “Serenade/The Proposition,” an hourlong work that reaffirms this artist’s gift ...

From ROSLYN SULCAS, The New York Times,  11 Nov 2009

Related Topics: Abraham Lincoln,  Bill T. Jones

Dance Review | Cave New York Butoh Festival: From Tokyo, a Stripped-Down Movement Style

“Butoh?” a friend said when I reported that I was off to the Cave New York Butoh Festival. “Is that the one where they are naked, with white body paint and move very slowly?” Ximena Garnica, foreground, performing in “Furnace” at Dixon Place on the ...

From ROSLYN SULCAS, The New York Times,  6 Nov 2009

Related Topics: Ko Murobushi

Dance Review | Karole Armitage: Ballet and African Moves

Karole Armitage’s reputation rests, in large part, upon the seismic shocks she caused in the early 1980s by putting ballet alongside screeching rock music. She was famously called (by Vanity Fair, no less; Ms. Armitage was trendy too) the “punk ...

From ROSLYN SULCAS, The New York Times,  5 Nov 2009

Related Topics: Karole Armitage,  Vanity Fair,  Brooklyn Academy of Music,  Lukas Ligeti,  Gyorgy Ligeti

Dance Review | Han Tang Yuefu Music and Dance Ensemble of Taiwan: Lives Gently Unscrolled Across a Stage

Bringing a painting to life is an idea that crops up from time to time in dance. Usually, though, the choreographer needs to invent a narrative to animate the frozen-in-time moment of the image and bring its characters to life. But not in “The Feast of ...

From ROSLYN SULCAS, The New York Times,  4 Nov 2009

Related Topics: Joyce Theater

Dance Review | Emmanuelle Vo-Dinh: Conjuring Magical Sounds and a Multilimbed Beast

Does dance have a commanding lead over other performing arts when it comes to mystifying titles and reason-defying punctuation? Doing its bit for the team is “Ici/Per.For,” by the French choreographer Emmanuelle Vo-Dinh, which opened at Danspace ...

From ROSLYN SULCAS, The New York Times,  30 Oct 2009

Related Topics: Danspace Project

« Previous  |  Next »

Who is This?

Help us add to our database, by linking this writer their entry in Wikipedia or Source Watch, or by suggesting that we remove it from our index.

Suggest an Entry