Trouver des articles | Ivan Talijancic

Anna Teresa De Keersmaeker's production of Six Brandenburg Concertos at the Park Avenue Armory in New York City disappoints

Babel(words); a dance-theatre work by Sidi Larbi Cherkaoui and Damien Jalet is presented at Lincoln Center in New York City as part of the White Light Festival 2016.

Anne Teresa De Keersmaeker's company Rosas and the Ictus ensemble bring Vortex Temporum to New York, performed as part of Brooklyn Academy of Music's 2016 Next Wave Festival.

Ivan Talijancic shares his observations on Sankai Juku's production of Umusuna at BAM Next Wave Festival 2015.

Tree of Codes opens at the Park Avenue Armory in New York - a collaboration between Wayne McGregor, Olafur Eliasson and Jamie xx.

Ivan Talijancic shares his thoughts on Rebecca Patek's the future was looking better in the past... at The Chocolate Factory in New York City

Ivan Talijancic shares his observations in conjunction with Stephen Petronio Company's 30th anniversary engagement at The Joyce Theater in New York City.

FLEXN, a collaboration between Peter Sellars and Reggie "Regg Roc" Gray at the Park Avenue Armory in New York City, brings mixed feelings.

Ivan Talijancic shares his observation on Russell Maliphant Company's Still Current at The Joyce Theater in New York City.

Ivan Talijancic shares his observations of Andrea Kleine's Screening Room (...) at The Chocolate Factory in New York

Ohad Naharin's internationally acclaimed Batsheva dance company brings Sadeh21</em> to New York (As part of BAM's Next Wave Festivial 2014)  

Ivan Talijancic discusses L.A. Dance Project's New York debut, a Millepied - Peck - Forsythe mixed bill.

Program Two of the Fall for Dance festival , at New York City Center, is an ionic choreographers' digest. With works by Child's, Forsythe (For Semperoper Ballet Dresden) Ramirez -Wang and Naharin (for Alvin Ailey American Dance Theater).

QUANTUM, une collaboration entre le chorégraphe Gilles Jobin et l'artiste visuel Julius von Bismarck, reste malheureusement "bloqué au royaume des idées" (Crossing The Line 2014 & Next Wave Festival, BAM) 

Alan Smithee Directed This Play at the Brooklyn Academy of Music is another quirky, and inventive piece , by Big Dance Theater.

<em>When the wolves came in</em> is th epening act as well as the title of Abraham.In.Motion's second program, presented at NYLA. 

Kyle Abraham, resident commissioned artist at NYLA and his company Abraham.In.Motion present a double program. The first, <em>the Watershed</em> was presented last week in NY . 

Olivier Saillard's Models Never Talk, presented at Milk Studios in New York as part of Fiaf's Crossing the Line 2014 Festival is both endearing and intriguing.

Anna Teresa de Keersmaeker's Rosas Danst Rosas, presented as part of the Lincoln Center Festival, in New York City.

Anna Teresa de Keersmaeker's Fase, Four Movements to the music of Steve Reich, presented as part of the Lincoln Center Festival in New York City.

Ivan Talijancic reflects on DD Dorvillier's Diary of an image, presented in its world premiere as part of Danspace Project's Platform 2014 in New York City.

Ivan Talijancic shares his observations of Thierry Thieû Niang's A Time of Spring at the Invisible Dog Art Center in Brooklyn as part of DANSE: A French-American Festival of Performance and Ideas.

Ivan Talijancic shares his observations of Pierre Rigal's Micro at The Joyce Theater in New York City, presented as part of as part of DANSE: A French-American Festival of Performance and Ideas.

Ivan Talijancic reviews Zoe | Juniper's BeginAgain at 3LD Art & Techology Center in New York City, as part of Joyce Unleashed. 

New York City Ballet present Mauro Bigonzetti’s Vespro, Angelin Preljocaj’s Spectral Evidence and Liam Scarlett’s Acheron in New Combinations. At David H Koch Theater, Lincoln Center. 

LeeSaar The Company present the New York premiere of Grass and Jackals for their début at the Joyce Theatre. 

Ivan Talijancic reviews a quartet at The Kitchen, presented as part of PS122's COIL 2014 festival, New York City.

Ivan Talijančić reviews Robert Wilson's production of The Life and Death of Marina Abramović at New York's Park Avenue Armory

Almost exactly a year ago, Hofesh Shechter Company graced the stage of Brooklyn Academy of Music’s Howard Gilman Opera House, with the choreographer’s explosive Political Mother. Bringing a deafening sound score (the audience was handed ear plugs on their way to the auditorium), vigorous dancing and impactful political slant, that work remains a highlight of BAM’s 2012 Next Wave Festival.

Italian soprano Anna Caterina Antonacci, a darling of the Parisian opera stages, puts on a fine display of her vocal range on the occasion of the American première of her production titled Era la Notte (in English translation, “It Was Night”). Originally staged in 2006, this performance is being presented in New York as part of the White Light Festival at the Lincoln Center.

When brainstorming ideas for his 2010 production of And then, one thousand years of peace, a co-production with Moscow’s revered Bolshoi Theatre, the French-Albanian choreographer Angelin Preljocaj stumbled upon reading the Apocalypse of St John.

Some twenty minutes into the opening night performance of DESH, the Olivier-award winning solo choreographed and performed by Akram Khan, I feel baffled.

When Japanese Manga cartoons meet Latvian opera singers in a Danish theatre company’s cauldron, one imagines that the sum total of it all could easily translate into a massive train wreck. And yet, this doesn't.

It is ironic that Anna Teresa De Keersmaeker’s closest brush with worldwide fame came a couple of years ago, when she unwittingly found herself in the midst of a plagiarism controversy involving her nearly 30-year-old choreography being egregiously borrowed in a music video by Beyonce.

As the program notes for William Forsythe’s Sider – on show this week as part of Brooklyn Academy of Music’s Next Wave Festival – meticulously explain, the score to which the dancers are performing is taken from a filmed version of an undisclosed Shakespearean tragedy.

It is the season of the Rites – I speak of Stravinsky’s influential The Rite of Spring, of course – and having just reviewed an interesting riff on it and contextualized its 100-year-old origins, I will skip right ahead to sharing a few thoughts on another, entirely different, yet equally fascinating investigation, presented by Nora Chipaumire under the title rite riot as part of the 2013 edition

At the outset of last century, the collision of the creative minds of the composer Igor Stravinsky and the choreographer Vaslav Nijinsky gave birth to what was to become the legendary Le Sacre du Printemps (“The Rite of Spring”).

I find myself once again in the lovely Playhouse at the Abrons Arts Center, which on this occasion hosts the world première of the new piece by Palissimo – the intrepidly inventive troupe helmed by the choreographer Pavel Zuštiak.

The spunky Crossing The Line festival is on, and a part of it is happening at one of the most buzzworthy venues in town, the Invisible Dog Art Center in Brooklyn.

Aiming to showcase “ballet for the 21st century”, a six-part program titled Ballet v6.0 has landed this August at New York’s preeminent dance venue, the Joyce Theatre. It has been said that one should not judge a book by its cover; conversely, I suppose, one should not judge a festival by one of its (six) performances.

“Blood is not water” was one of my grandmother’s frequently quoted proverbs, and it is the first thing that comes to mind, only minutes after my eyes land on Aurélia Thiérrée, as the curtain rises on the opening night performance of Murmurs as part of Lincoln Center Festival 2013.

I must confess: when the press release for the 2013 Lincoln Center Festival came out earlier this spring including an grand spectacle that is Monkey: Journey to the West, a multimedia operatic endeavor with music penned by Damon Albarn, I was immediately excited.

Having reviewed Pavel Zustiak’s Amidst, part two (of three) of his Painted Bird opus earlier this year, I was intrigued to take in the bigger picture by witnessing the entire trilogy on the occasion of its New York première at La MaMa.

I am back at the Abrons Arts Center’s historic (but unconventionally programmed) jewel box, the Playhouse, so soon after the recent Jack Ferver extravaganza. This time around, the stage is hosting another choreographer, Yvonne Meier, whose “reconstruction” of The Shining I likewise had the opportunity to ruminate on earlier this season.

For the occasion of what I believe has become Cedar Lake’s annual tradition of showcasing work at the Joyce Theater, this contemporary ballet troupe has assembled an impressive trio of guest choreographers – Nederlands Dans Theater’s former chief Jiří Kylián, Crystal Pite and Andonis Foniadakis.

Jack Ferver is a well-loved figure on New York’s downtown performance circuit, so it is no wonder that I arrive to Abrons Arts Center’s largest space (the Playhouse) to find that every available seat in the house is full.

Nederlands Dans Theater is in town, the excitement is palpable in the air for what is their first engagement in New York in nearly a decade, and NDT’s resident choreographers Sol León and Paul Lightfoot are on hand to provide an evening-length concert by combining two shorter works, Sehnsucht and Schmetterling, both of which were originally presented in 2010.

As I was leaving the upstairs gallery at The Kitchen last Wednesday night, thinking about what to tell you about the performance I had just seen, “You have never seen a game show quite like this” kept coming to mind.Rewind.

Carte Blanche is the national contemporary dance company of Norway, and they are presenting their work in New York for the first time as part of ICE HOT: A Nordic Dance Festival at the Joyce Theatre.

It is safe to say that Hiroaki Umeda is a one-man operation, and on the occasion of his double-bill engagement at the New York Live Arts last week, he puts his physical and digital prowess on display full steam, or I should say, “full terabytes”, ahead.