Labyrinth of Love: Rambert Dance Company at Sadler's Wells

Par Cristina de Lucas, 18 octobre 2012

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Critique faite à Sadler's Wells Theatre, Londres, le 16 octobre 2012

Labyrinth of Love (Marguerite Donlon)

Roses (Paul Taylor)

Dutiful Ducks (Richard Alston)

Sounddance (Merce Cunningham)

Rambert

Lucía Barbaillo, Danse

Eryck Brahmania, Danse

Dane Hurst, Danse

Miguel Altunaga, Danse

Rambert Orchestra

Cunningham vs Sciarroni : deux esthétiques en miroir au Centquatre

Julie Jozwiak, 18th December

Le Festival d’Automne 2019 propose un dernier spectacle centré sur la figure de Merce Cunningham avec le Ballet de l’Opéra de Lyon, comprenant une œuvre psychédélique d'Alessandro Sciarroni.

****1

Trois Ballets célèbrent le centenaire Cunningham à Chaillot

Laurine Mortha, 22nd October

Le Festival d’Automne célèbre le centenaire de la naissance du chorégraphe américain Merce Cunningham. À Chaillot, le programme « Trois Ballets » réunit l’Opéra de Paris, le Royal Ballet et le Ballet Royal de Flandre.

***11

Cunningham en miroir : le CCN Ballet de Lorraine à Chaillot

Julie Jozwiak, 13th October

Merce Cunningham est mis à l'honneur par le Festival d'Automne. À Chaillot, le CCN Ballet de Lorraine et ses directeurs, Petter Jacobsson et Thomas Caley, rendent un bel hommage au chorégraphe américain.

****1

Drama/no drama from New York Theatre Ballet at Judson Church

Carla Escoda, 10th April

Anthony Tudor and Merce Cunningham provided the lighter fare in a mixed bill that featured two world premieres from Kevin Iega Jeff, a veteran of the Chicago dance scene, and Julian Donahue, a newer voice.

****1

Liam Francis Dance Company in Alchemy: an absorbing London debut

Daniel Pratt, 7th November

Liam Francis Dance Company at The Place brings an instinctive and intelligent debut for a choreographer in-step with what it is to be a dance artist now.

*****

NYCB's winter season begins with Peck's brand new “sneaker ballet”

Ivy Lin, 27th January

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

****1

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Cristina de Lucas

After a career in the legal field where she combined her job as an Attorney at Law with collaborative roles in various local and international cultural enterprises, Cristina de Lucas turned to dance research and criticism in 2009, when she moved to London. She obtained her doctorate from the Department of Dance at the University of Roehampton (London). Her fully-funded thesis focused on the confluence between dance and narrative in the repertory of the British choreographer Kenneth MacMillan. Her research has received several awards, such a full Vice-Chancellor scholarship and the 2014 SDHS Graduate Student Travel Grant. She also reviews dance and cinema, contributing regularly to several publications in Spain and UK.