Emergency evacuation drills, though necessary, are a pain.
This ultra-interactive performance space is dance’s version of the New Aesthetic. Created by Taiwan’s Anarchy Dance Theatre in collaboration with the avant-garde new media creative firm Ultra Combos, the blank performance stage becomes a canvas for a series of optical-illusion projections that animate according to dancers’ movements, turning a white box into a reactive environment.
RoseAnne Spradlin’s beginning of something was evocative but didn’t offer enough to chew on; DD Dorvillier’s Danza Permanente is not one of her best works, but it gives gives viewers a glimpse of the choreographer’s process.
Minutes before the much-admired postmodern choreographer Trisha Brown was to stage her early 1973 “Roof Piece” on Thursday, June 9, the High Line’s urban park rangers and the stage managers of Trisha Brown’s Dance Company began to panic. An upstaging performance by a potentially show-stopping tornado struck fear upon headsets and walkie-talkies alike. Would the show go on?
A small group of dance students recently gathered on the floor of the Cunningham Studio to try to save their dance program from an early death. “There’s no way the studio won’t make it,” Suzanne Thomas, a French student, said. She is passionate about preserving it for a reason: “Pure Cunningham doesn’t really exist anywhere else.” The community revolving around choreographer Merce Cunningham, a giant of modern dance, has been in a state of flux since his passing in 2009. Although the choreographer himself and the Cunningham Trust meticulously outlined a plan for both the Merce Cunningham Dance Company, which would come to an end after a final farewell tour, and the Cunningham Foundation for after Cunningham was gone, the fate of the Cunningham Studio’s educational program was not so clear cut.