Performance
Jérôme Bel’s new piece, Disabled Theater, now at New York Live Arts as part of Performa 13, has gotten a fair amount of positive press and reviews, but it felt complicated to me, and not always in good ways.
Performance
Even for those well-versed in contemporary dance, Maria Hassabi’s work can sometimes test the very applicability of the term. Sure, postmodernism has expanded dance’s vocabulary to include all sorts of things well outside the limitations of formal technique, from pedestrian movement to text and so o
Art
When scheduling your fall NYC arts itinerary, don't leave out dance. There is a storm of movement coming from both the established companies and individuals with experimental ideas about what movement and the body can mean on stage.
Interview
Watching Karinne Keithley Syers dance is like watching someone tell a ghost story with her hands and eyes. One hand obscures her vision while the other guides her body through unknown territory. Where she is, or how she arrived there, feels less pertinent than her strong sense of self-awareness and
Performance
Despite the setting — a small stage filled with nine dancers — there was a feeling of separateness and sadness. The Vangeline Theater, a Butoh dance group, celebrated its 10th anniversary on February 1 and 2 at the Triskelion Arts Aldous Theater; both nights were sold out, with more people waiting i
Performance
Many readers of Hyperallergic know about the art fairs that serve the visual arts community, which seem to expand and replicate themselves at an ever-increasing rate around the globe. But readers may not be aware of the corollary in the world of performance. Of course, a dance work or a work for the
Opinion
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 anima
Performance
When DD Dorvillier introduced an excerpt from her Danza Permanente at Judson Church last year, explaining that each of her four dancers would mirror one instrument in a Beethoven string quartet, a dance historian might have been puzzled. On the timeline of American concert dance, this sounded rather
Performance
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.
Art
On Sunday, my Hyperallergic Weekend colleague Claudia La Rocco published a piece in The New York Times titled “Museum Shows With Moving Parts,” which explored the expanding presence of dance in museum settings.
Performance
On my way to the Joyce SoHo last Wednesday, while thinking about David Gordon’s 50th anniversary — and realizing that, while he has been making work for five decades, I would be seeing it live for the first time that night — I got to wondering: What does Gordon, renowned for resisting any sort of ti
Performance
Jack Ferver and Marc Swanson met in 2008. Both grew up in rural America, both are queer, both have created imaginary worlds. Two Alike, which premiered at The Kitchen last weekend, is their first collaboration, in which Swanson provides the setting for Ferver’s dreams and nightmares.