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Teresa, who holds a PhD in Dance Education from New York University, teaches Dance Pedagogy, Somatics, and Laban Movement Analysis. Her research is presented in monographs, Geographies of Dance: Body, Movement, and Corporeal Negotiations, and Dance: Current Selected Research: A Twenty-Year Retrospective/Focus on Movement Analysis, and in Journal of Dance Education, Journal of Imagery in Sport and Physical Activity, and Research in Dance Education. She also reviews dance for LA Dance Review.
Locked into a hypnotic, perpetual loop to blaring, banging mechanical sounds, nine women and nine men stride along walking upstage to downstage as if they have been sold to some force from which there is no return.
In its 10th season, the steadfast and elegant Los Angeles Ballet impressed us with technical achievement, emotional expressivity, musicality, spirit, and focus in Don Quixote.
The moment a mouse peeked out of a stewpot in the kitchen of the Stahlbaum’s kitchen, I knew that the current American Ballet Theatre version of The Nutcracker would keep me engaged all evening.
The Lucinda Child Dance Company performers were stellar, and the music by John Adams (Light Over Water, 1983) was as expected; however, the set design by Frank Gehry was naively conceived for this venue. This production revealed that some art works transcend the test of time, but not that of space.
Dancers tip-toed in stately procession, while alternately molding into aggressive gnarled warriors, images familiar from amphorae; they presage a clash of forces of destruction, the unfolding of a love story, and a sorcerer’s ravenous desire for control.
Triptych (2005), the most enduring dance of the evening represented the strongest thematic and choreographic arrangements. The choreography was sophisticated with carefully crafted partnering work and phrasing that utilized the space in interconnected circles and pathways. It created a mesmerizing experience.
Kill everyone who brings us discord; it is the only way to have quiet. A Rite, which is actually a meta-cognitive lesson questions Stravinksy/Nijinsky's 1913 Rite. In the 21st century, our sacrificial rite is daily —in our schools, in our public spaces, in our streets, in “someone else’s” war...
While L-E-V performed House using utterly grotesque shapes, lines, and facial gestures, the unity, variety, repetition, and contrast of elements were eloquently sequenced and the audience was taken on a journey to another world, led by seven part-human-part-insect-beings.
Song in a Strange Land is an evocative blend of concert jazz dance, jazz music, and literary texts layered to tell diasporic and lived memories of African Americans.
With wild abandon, slick partnering, and sensitive storytelling, Invertigo Dance Theatre presents After It Happened, a multidisciplinary theatre work of dance, acting, and live music and song.
