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Archives for November 2004


Tanztheater Wuppertal Pina Bausch / BAM Howard Gilman Opera House, NYC / November 16-21, 2004 I’m having a lot of trouble with Pina Bausch’s work these days. As just about everyone has noted, the German choreographer whose dark and dirty dance-theater extravaganzas were once hailed as marvelously radical, has, in the last decade, been producing pieces that are gentler, tamer, ostensibly more mellow. In the productions with which she made her name in the States in the 1980s, Bausch took the position of a plaintive, damaged … [Read more...]


Works & Process at the Guggenheim: Balanchine Continued . . . at Ballet Arizona / Guggenheim Museum, NYC / November 14 and 15, 2004 The first program in a series of four exploring the ongoing life of George Balanchine’s legacy showcased Ib Andersen, one of the most glorious of the Danish male dancers who “defected” to the New York City Ballet to be part of that incomparable choreographer’s world, and nine dancers of Ballet Arizona, where he is now artistic director. With the company’s permission, I watched early afternoon class the … [Read more...]

Monica Bill Barnes

At each of their recurrent impasses, unable to establish a mode of togetherness that will last, yet determined not to part, they face each other as if to ask, "Where do we go from here?" Village Voice 11/15/04 … [Read more...]


Mandance Project / Joyce Theater, NYC / October 21 – November 7, 2004 Plus ça change, plus c’est la même chose, as the French say. The more things change, the more they remain the same. The proverb might have been generated to describe Eliot’s Feld’s choreographic career. Feld’s latest company, Mandance Project—consisting of five men and a lone woman—recently made its debut in New York with a repertory of 11 dances, all but one of them brand new. Astonishingly, the work looks like much that Feld, a huge but inexplicably stymied talent, has … [Read more...]

Henning Rubsam / Sensedance

The radiance the program possessed was due largely to the presence of performers borrowed from the beleaguered Dance Theatre of Harlem, who seem to operate from sources deep inside them. Village Voice 11/08/04 … [Read more...]

Kitt Johnson X-act

Slowly her fingers emerge from her shroud, their tips like tiny, vicious claws, her hands engendering subtle anatomical horrors that she places where her face should be. Village Voice 11/08/04 … [Read more...]

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