We get very narrow views of what's going on in the rest of the world, and seeing work from other cultures makes you ask questions
As a rule, critics don't review friends any more than Justices of the Supreme Court attack presidential candidates, but sometimes circumstances demand exceptions and, unlike Ruth Bader Ginsburg, I make no apology for telling you to make haste to the Sheen Center for the two more chances you have to see "Remembering What Never Happened."
Maybe that's the wrong question.
Somewhere among the late responders stands the choreographer. While the dancer can improvise her response to a cataclysm on the spot, the choreographer must devise a language of movement that must first be conveyed to a dancer who in turn must convey it to an audience.
Postmodern dance often values movement for movement's sake rather than movement as a vehicle for storytelling. One gets the sense that the audience happens upon these events by accident. The scene existed before the audience arrived and will continue long after they are gone.
They totally nailed it.
It's no use trying to guess what Charles Slender-White will come up with next. Since its founding in 2008, his agile contemporary dance troupe, FACT/SF, has defied pigeon-holing.
The internationally-known modern dance company Alvin Ailey American Dance Theater premiered original choreography by Matthew Rushing, Hofesh Shechter and Alvin Ailey at Revelations last month at Boston's Citi Wang Theater.
Tuesday night's performance of Four T's was not as uniformly bracing as generally seen across the pond, though Robert Clark on piano and the Royal Opera House orchestra under Barry Wordsworth gave a crisp account of the Hindemith score.
Jin chose to have gender confirmation surgery -- and she wanted to undergo the procedure in China. In 1994, Chinese doctors
Originality and crackerjack dancing were on ample display at the Hong Kong Arts Festival's Contemporary Dance Series last week. Young Hong Kong choreographers furnished two double bills and a third programme crammed with seven 10-minute pieces.
Like a René Magritte painting come to life, Robert Dekkers' latest assault on the conventions of theatrical dance piles up one absurd image on another in precise, deliberate fashion, leading us rapidly from a vision of tranquil domesticity into hell and chaos,.