Have we come a long way, baby?

Par Carla Escoda, 29 septembre 2014

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“Hope Mohr asks us to pursue the thrill of movement that constantly questions its source.”

Critique faite à Joe Goode Annex, San Francisco, le 27 septembre 2014

The Courtesan and the Crone (Anna Halprin)

Carnation (Lucinda Childs)

Shard (Hope Mohr)

News Animation (Simone Forti)

Peiling Kao, Danse

Hope Mohr, Chorégraphie

Simone Forti, Chorégraphie

Anna Halprin, Chorégraphie

Available Light: symbolique bien qu'ephémère

Laurine Mortha, 3rd November

Pour l’édition 2015 du Festival d’Automne à Paris, Lucinda Childs et sa troupe revisitent Available Light, une chorégraphie emblématique du minimalisme, créée en 1983.

**111

The marvelous, disarming Sons of Echo at the Joyce Theater

Carla Escoda, 14th January

A rare opportunity to see five male ballet superstars – notably Alban Lendorf, in great form long after injury sidelined him – in an intimate theater, in work exclusively by women.

****1

The inspired and the prosaic at Fall for Dance at New York City Center

Carla Escoda, 20th September

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians.

****1

Four New Works by Lucinda Childs: classic postmodernism

Katja Vaghi, 7th December

Lucinda Childs presents four new works at the Haus der Berliner Festspiele, appearing on stage as a youthful 84, in one of them.

****1

Die Mischung macht’s: eine junge alte Salome an der Volksoper Wien

Snapdragon, 22nd September

Die Volksoper holt mit Luc Bondys Salome eine altbewährte Inszenierung ans Haus. Trotzdem bleibt dieses Werk spannend, gerade wenn man eine umwerfende Salome wie Astrid Kessler zur Verfügung hat.

***11

Reaching for the light: Arvo Pärt and Robert Wilson's Adam's Passion

Alissa Balocco, 31st March

For the first time in Italy the opera that brings together the spiritual music of the Estonian composer and the minimalist direction of Robert Wilson.

****1

Plus de critiques...

Carla Escoda

Born in the Philippines, Carla trained as a ballet and modern dancer with the Alice Reyes Dance Company in Manila. She has lived and worked in Asia and the U.S. and has written about the arts for Bachtrack, KQED (the northern California public media broadcaster), Dance International, dance journal/hk, the Huffington Post, Dance Europe and ballettothepeople.

Have We Come A Long Way, Baby? asks Hope Mohr