Deja-vu fest?

This winter, a deadline forced me to miss Janie Taylor in Balanchine's "La Valse" at New York City Ballet. I felt even more gloom than usual at missing her--I try to catch everything she does--because the reviews confirmed, as Alastair Macaulay, chief dance critic at the New York Times, wrote, that

no other recent interpreter... is so right for the heroine as the febrile, driven Janie Taylor. The piece begins to Ravel's "Valses Nobles et Sentimentales." Ms. Taylor enters to the eighth and final waltz, and at once she shows the morbidly curious nervous system that is at the ballet's heart. She stretches out into the dark as though it will answer her needs. [And it does. With Taylor, the darkness always does.]

"It's applying a museum curatorial approach to live art practice, and by 'live' I mean of the moment," said Simon Dove, who left the Springdance festival in Utrecht, the Netherlands, to become chairman of the dance department of the Herberger College of the Arts at Arizona State University last year. "A museum approach is a way of holding on to something that by its very nature cannot be held onto."

[And Tere O'Connor:] "My art is a lens I see the world through: it's not about the product as much as it is about me looking forward."

I'm with Dance Theater Workshop's artistic director, Carla Peterson, though, who

spoke out against "the tyranny of commonly accepted wisdom" that she said fetishizes the ephemeral nature of dance.