En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | New York Live Arts

Atop a square, springy mattress of a platform, ten artists morph a sculpture of breath and flesh into a high-octane bacchanal.

A mix of new and tried and tested works by Karole Armitage, Jacqulyn Buglisi, Carolyn Dorfman and Jennifer Muller

Michele Wiles’s BalletNext is clearly undergoing evolution.

<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 . 

John Jaspere's quartet Within between at New York Live Arts is an exhilarating, surprising, well-constructed and incredibly well-danced piece.

Rachel Rizzuto reviews the Trisha Brown Dance Company's three older pieces, including Son of Gone Fishin' and a more recent piece, Rogues at New York Live Arts.

Rachel Rizzuto reviews Beth Gill's New Work for the Desert, an occasionally serene and entirely deliberate meditation of movement, at New York Live Arts.

Rachel Rizzuto reviews Kimberly Bartosik's You Are My Heat and Glare at New York Live Arts.

What a treat it was this past Wednesday to see dancers fully clothed, free of shock-value tricks and costumes that are eventually removed. What a luxury it was to take in the beautifully arched feet and luscious lines of the dancers at my own leisure.

Gwen Welliver’s newest piece, Beasts and Plots, is hard evidence that Ms Welliver has the enviable ability to transform a seemingly mundane series of movements into an imagination-inspiring, fantastical world in which I nearly convinced myself that I’d just glimpsed the cousin land of Narnia by the dance’s end.

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.

Juliana May’s newest piece examines the correlation between the vulnerability of the human body and self-consciousness. And while I had a hard time finding moments in which the dancers seemed truly vulnerable, I think the audience, at least, managed to reap some real feelings of rawness and disquieting exposure.

I am always hesitant to review a dance piece negatively; I understand that it is a great act of bravery to put one’s choreography out into the atmosphere, subject to criticism and the paltry opinions of people who are bound to incorrectly interpret it.

The element of surprise is one of the few underrated performance facets these days. So often when I attend dance performances, I find myself growing bored, even as I am confronted with superbly talented dancers and even intricate and innovative choreography.

Arriving (fashionably?) late for a performance doesn’t necessarily have to be a bad thing: one can get much more than one bargained for. Such is the case when I walked into the lobby of New York Live Arts’ lovely venue in Chelsea last week, some five minutes behind schedule. Expletives are definitely running through my mind, as I observe that there are barely ten people mingling about.