Is three nights of dance in a week too much? Not if it includes Pina Bausch, an evening of emerging choreographers that’s not a chore to watch, and hippie Franco-Argentinian dance that makes you feel stoned.
An interview with French choreographer Christian Rizzo about his work, the post-modern art of Benvenuto Cellini, and dancer Julie Guibert’s “physical intelligence.”
Christian Rizzo’s solo for dancer Julie Guibert: kind of like a dance version of My Bloody Valentine.
Faye Driscoll’s “There is so much mad in me” and Yasmeen Godder’s “Singular Sensation” both ask hard questions about the cost of our desires.
NewsWrights United, a group of Seattle-based playwrights, is re-thinking how to make theatre in order to tackle relevant issues in the new media era.
A pair of critics from the Guardian have started a conversation about whether and when it’s appropriate to talk about looks, good or bad.
Inquiring minds want to know: Who thought this was a good idea?
In Project 5 at the Joyce, Israeli choreographer Ohad Naharin demonstrates a choreographic style that produces a compelling movement language at the same time the work compositionally disappoints.
It’s Monday early afternoon, and I’m finally enjoying a lull in the hectic pace of meetings and show-going that’s been my life since I flew into Portland from New York on Friday for the first weekend of shows at the 2010 Time-Based Art Festival. I’m
Contributor Jeremy M. Barker has five questions for Michael Rioux, a Seattle-based dancer and choreographer performing as part of Ten Tiny Dances at the 2010 TBA Festival in Portland, Oregon.
Nora Chipaumire and Souleymane Badolo’s new dance work Art/Family/Our Lives: I Ka Nye, at DNA through Sunday, Sept. 12, made me chuckle. A lot. Charmingly simple and straightforward, I Ka Nye explores the construction of family through movement, music, and text.
South African playwright Athol Fugard has excoriated his fellow playwrights in Britain and America for failing to maintain the tradition of politically engaged theatre. But maybe the problem is that playwrights already agree with him and are trying to follow in his footsteps–only, that mode of political theatre just doesn’t matter anymore.