Performance
The program for Rashaun Mitchell’s Nox contains a lone explanatory note: “When my brother died I made an epitaph for him in the form of a book. This is a replica of it, as close as we could get.” The words belong to the poet Anne Carson, and they come from the back cover of her eponymous book, publi
Performance
(don't answer that) Everyone else, what are you doing tonight? (if your answer is anything other than going to see reVisitation, Reggie Wilson/Fist and Heel Performance Group's absolute knockout of a show, don't answer that)
Art
With a final series of performances beginning tonight and continuing through New Year’s Eve at the Park Avenue Armory, the Merce Cunningham Dance Company will close, ending nearly sixty years in operation.
Performance
I spent part of the third section of Shen Wei’s modern dance showing at the Park Avenue Armory on Tuesday watching a shoeless young woman (a member of the audience who was, like me, allowed to wander along the grid of 60 dancer-inhabited squares of performance space), stare slack-jawed and wide-eyed
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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 tornad
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Last night, In the Use of Others for the Change premiered at the Center for Performance Research in Brooklyn. Choreographed by Julia K. Gleich, the new ballet featured collaborations with some familiar faces on the Bushwick art scene, including Audra Wolowiec, Austin Thomas, Kevin Regan and Andrew H