“Why a dance critic?” Richard Schechner doesn’t use those words, but he implies them as he greets me at New York Live Arts, where I’ve arrived for a reconstruction by the Austin, Texas, ensemble Rude Mechs of his Dionysus in 69. Why not? For one thing, I missed this epochal and controversial piece of “environmental theater” (Schechner’s term), when he and his actors presented it in the Performing Garage down on Wooster, beginning in the summer of 1968. For another, dance is the life’s blood—in more ways than the cliché … [Read more...]
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