While this year some pieces isolated participants through technology, others relished their theatricality and fed off the physical presence of live performers.
Two of this year’s performance offerings, perhaps inadvertently, highlighted the sometimes awkward and asocial embrace of technology.
For more than twenty years, the French choreographer has pioneered a kind of dance that highlights the biography and particularity of the performer.
With its task-based script, Request Concert may remind some of Chantal Akerman’s 1975 film Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxelles, tightly shot inside a small apartment. The pairing of everyday housework with suicide might also call to mind Marsha Norman’s 1983 play ‘Night Mother.
Long a darling of the European festival circuit, Romeo Castellucci and his Socìetas Raffaello Sanzio have since the 1980s presented a visually driven, philosophical theater, often with classical references and the provocative presence of animals and the animality of humans.
Thirty years is a long time to step away. Jill Kroesen was deeply enmeshed in the downtown performance scene of the 1970s before she disappeared.
Really by Jackie Sibblies Drury had its world premiere at Abrons Arts Center on March 18.
The whirlwind of performances accompanying the annual convention of the Association of Performing Arts Presenters in New York has come to a close, with PS122’s COIL, the Public Theater’s Under the Radar, HERE’s Prototype, Abrons Arts Center’s American Realness and other festivals wrapping up last Sunday.
APAP/NYC, the annual conference of the Association of Performing Arts Presenters, has hit town. PS122’s COIL, the Public Theater’s Under the Radar, HERE’s Prototype, Abrons Arts Center’s American Realness and other festivals all over the city aim to lure bookings for shows by presenting work around the time of the conference.
In the final phase of Performa 15, which ended on November 22, a couple of performances turned profitably to music, creating synergies with standardized hand gestures in one case and the dynamics of theater lighting in the other.
Performa 15, the New York performance biennial, in this edition looks to the Renaissance as its “historical research anchor,” as the festival’s promotional materials put it, though in practice, the historical tie is often so vague as to be meaningless.
The ninth edition of the French Institute Alliance Française’s Crossing the Line festival concluded on October 4 after presenting over three weeks of interdisciplinary performances at various venues across New York City.