Archive for new york city
August 20, 2008 at 12:47 pm · Filed under ballet, dance, dance event, KATE, manhattan, art, modern, city, new york, nyc, mercecunningham, new york city, abt, choreographer, modern dance, contemporary dance, new york dance, companies, city center, dance culture, dance companies, american balet theatre, KATE-M, SYREN, kate mehan, chroeographer, SYREN modern dance
This is one of the posters starting appear around the city (this one at 5th Ave N/R/W train stop). This is a great event at City Center (all tickets $10!!!) The shows are in Sept. Everything from Shen Wei, ABT, Cunningham, to Oregon Ballet Theater and much much more. A great mix, the right price, and a SUPERB venue. One of these days, we hope SYREN will get on the bill! In the meantime, we are enthusiastic supporters.
Check it out!
http://www.citycenter.org/tickets/productionNew.aspx?performanceNumber=3775
www.syrendance.org
Recent Posts by kate mehan
July 6, 2008 at 9:14 am · Filed under SUSAN, new york city, abt, performance, advice, audience, audiences, american balet theatre
The other night, I returned home after an evening of ballet-ing in an unusually funky mood. (Suffice it to say that the company in the seats beside me were far less pleasant than the excellent company on stage.)
Imagine my surprise, then, when I began flipping through the program a few days later to discover an interesting addition to that evening’s playbill. Because Volpe is so much more elegantly eloquent than I am—but, mainly, because I adore his graceful use of the (ghastly) “heinous”—I wanted to share his thoughts on:
I shall spare you the lengthy rant about the obvious blight of ringing cell phones or the agony of late arrivals stepping on our toes or that awkward moment when you find your orchestra seats being warmed by sheepish looking third balcony hopefuls. That said, let’s review the more obscure yet heinous crimes that might send us fleeing back to our home surround-sound and plasma-screen systems, and far from live performances that require us to be a part of a civilized communal experience.
Gentlemen, if you must snore, make sure your companion has sharp elbows.
Fanny packs are never an acceptable “Performing Arts” accoutrement, save it for the mall.
Humming is a crime that is almost forgivable as it’s committed unconsciously. Still, never, ever, hum along with the music—the musicians really don’t need your help.
Never leave a performance before intermission, unless you are injured and bleeding profusely. While you may be “bloody bored,” those around you are not.
Ladies, please do not bathe in your Clive Christian No. 1 perfume prior to a performance. Gentlemen, you might want to skip the cologne altogether; you are in close quarters, not the French Quarter.
Refrain from leaping to one’s feet, zealously clapping and shouting “Bravo,” while the rest of us are still waiting to hear the last glorious notes of the aria.
Dress Appropriately. We all know that casual attire is encouraged these days, but let’s keep casual from becoming catastrophic. Shorts and a tank top might be appropriate in Branson, Missouri, the home of country music, but not in Avery Fisher Hall, the Home of the New York Philharmonic. We must keep the concert halls alive by our patronage for the next generation. As a young man I would attend such transporting musical evenings wearing a borrowed jacket and dress pants purchased from the Salvation Army. I made an effort despite my “standing room” or “student ticket” status and rose to the occasion on limited funds while showing respect for the performers and fellow audience members.
There is no substitute for a live performance, whether it is ballet, classical, jazz or soul. Miss Aretha Franklin demands, and gets, what she literally spells out for us—R-E-S-P-E-C-T. And that’s what other audience members and the performers on stage deserve from all of us.
I’m embarrassed to admit that I am guilty of (at least!) one of the above violations. (Oof!)
I wonder if this strikes a chord with anyone else?
Am I an anomaly in thinking that being in the house for an evening’s performance is just as challenging (in different ways, of course) as being on the stage?
Recent Posts by susan kim
April 12, 2008 at 4:04 am · Filed under dance, new york city, choreographer, juilliard, performance, miki orihara, MIKI, martha graham, stephen pier, aszure barton, east village
Duo Theater in East Village, is a pretty space. Built in 1889, as a ballroom, this space was a home of Roy Rogers( I think…I saw a lot of posters).
Very nice !
Aszure Barton is a most succeceful woman choreographer now in NYC, and her company’s performances this weekend. It is one act show of about 1hour 5mins. 5 dancers were very different from each other and their movement and quality was very different but when they move, very precisely as her choreography, amazingly together and they were TIGHT!!!
I had a previledge of dancing her work with MG”s season at the Joyce last September, ” Lamentation Variation” inspired by MG’s short study film of her master peice “Lamentation”, her choreography is very detail oriented and you have to be so precise to move… I had a great time!
this is Aszure(R) and one of 5 dancers, Banning Roberts who is the Juilliard Grad and ex-Cluberg Ballet dancer and now freelance lives in Paris!
anyway, this “A Travelling Show” added one more show on Sunday Matinee this coming April 13, highly recommended!!!
I don’t want to talk about too much since some of us might go to see it this week weekend!!!
From the Left to Right: Stephen Pier, Courteny Blackwell, Bannning and Williams Briscoe( who was another one of 5 !) these three of them were all Juilliard Grad. and Stephen and I somehow feel like “Parents”…
oh well.
Recent Posts by miki orihara
December 6, 2007 at 9:58 pm · Filed under dance, blogs, directors, germany, new york city, director, modern dance, choreography, contemporary dance, arts, KRISTIN O, staatstheater kassel
There began a small investigation here in Kassel about the origin of an idea. Johannes Wieland, Director and Choreographer of the Tanztheater in Kassel built his version of “Le Sacre du Printemps” around seven human-sized tanks, each filled with at least 500 Liters of lukewarm water. The idea stemmed from a piece he created and premiered in New York City (2001) called “Tomorrow;” which has become one of Johannes’ signature works. In our rendition of “Sacre,” water ends up converting the entire opera house stage into a slippery sea comprised of splashed water, buckets full of water and quite literally, hair loads of tossed water.
After our premiere, a writer for the “Süd Deutscher” Newspaper wrote a positive review of the work but inferred that Johannes “copied” a piece by Sasha Waltz, a famous European choreographer whose company is based in Berlin. The reviewer attributed the originality of the tank idea to Ms. Waltz and her work “Dido and Aeneas,” which premiered in 2005. Chronologically, the tanks of water appeared first in Johannes’ “Tomorrow” nearly eight years ago. The writer of the review failed to research Johannes’ repertory and made a false claim based on her performance-going experience.
So, where did the idea of tanks of water on a stage originate? And does it matter? Can ideas really be claimed? It seems to me (and several of my colleagues with whom I’ve spoken much with about this issue) that both choreographers found reason to use the same not-so-commonly-used prop as tools to achieve separate visions. And perhaps tanks of water have been used on stage in several other occasions, perhaps prior to both of the aforementioned pieces.
Which brings me to another issue: the writing of a review. What is going on? I was taught to write as objectively as possible when reviewing performance art, and though I did not go to Journalism school, isn’t the point of it all to educate the public? How can we expect the public to gain an interest in dance if we make assumptions without researching the facts we claim or telling the public what “I” like and “I” think about the work. Thank goodness for blogs…
Recent Posts by kristin osler
November 26, 2007 at 1:33 pm · Filed under SLOAN, dance, art, museum, new york city, downtown, new museum
The New Museum on the Bowery has its official opening on December 1st. Can’t wait! This is such a fantastic addition to our neighborhood.
Recent Posts by kristin sloan
October 25, 2007 at 4:01 pm · Filed under dance, events, recommendations, GIA, GIA PICKS, new york city, performances, xavier le roy, jerome bel, judson, peforma, visual art, marie cool, fabio balducci, carlos amorales, russel maliphant, isaac julien, pablo bronstein, grand union, kelly nipper, yvonne rainer
Dearest wingers — It’s time to sit in the audience. It’s time to wash Nacho Duato out of your hair. Performa 07, the second edition of a biennial focusing on new visual art performance and established by RoseLee Goldberg, runs Oct 27–Nov 20 — the schedule is endlessly confusing, so I’m just going to list the events that fall under the category of “Dance After Choreography.”
But please check out the website (performa-arts.org) because there is plenty of other fascinating stuff—Pete Drungle’s Continuous 24-hour Solo Piano Improvisation at SculptureCenter, the Israeli artist Tamy Ben-Tor at Salon 94 and Allan Kaprow’s 18 Happenings in 6 Parts (Redoing). I put ** on the things I really care about.
And to remember — not everything will be good, This is a chance to learn a lot in a short amount of time — it will be overwhelming — and just because people look like artists doesn’t mean they are. xoxo
November 2 from 6-8 pm
MARIE COOL AND FABIO BALDUCCI, Untitled (Prayers, 1996-2007)
The Clocktower Gallery, 108 Leonard Street, 13th Floor
Tickets: $14/$12 PERFORMA Members, $10 students, performa-arts.org
November 10-17 with performances at 1 and 2 pm daily
CARLOS AMORALES, Spider Galaxy
590 Madison (The Atrium)
FREE
November 6, 8-10 at 7:30 pm
ISAAC JULIEN AND RUSSELL MALIPHANT, Cast No Shadow
BAM Harvey Theater, 651 Fulton Street
Tickets: $45/$35/$30/$20, www.bam.org or (718) 636-4100
November 7 from 2-5:30 pm
PABLO BRONSTEIN, Plaza Minuet
World Financial Center, One New York Plaza, 60 Wall Street and 375 Hudson Street—please check performa-arts.org for starting location
FREE
** November 7-10 at 7:30 pm
JEROME BEL, Pichet Klunchen and Myself
Dance Theater Workshop, 219 West 19th Street
Tickets: $25/$15 DTW and PERFORMA Members, dtw.org or (212) 691-6500
** November 12 at 7:30 pm
Dance After Choreography: An Evening with Grand Union
Anthology Film Archives, 32 Second Avenue
Tickets: $8/$6 students, seniors children/$5 Anthology and PERFORMA Members, available day of show at the Anthology Film Archives Box Office
In this event Douglas Dunn, David Gordon, Nancy Lewis, and Yvonne Rainer — members of the improvisational group Grand Union — reunite for the first time since the group’s dissolution in 1976. it should be hilarious.
November 13 at 7:30 pm
Dance After Choreography: From Judson to the Present
Anthology Film Archives, 32 Second Avenue
Tickets: $8/$6 students, seniors children/$5 Anthology and PERFORMA Members, available day of show at the Anthology Film Archives Box Office
November 13-15 at 7 pm
MARKUS SCHINWALD & OLEG SOULIMENKO, Stage Matrix I
Dance New Amsterdam, 280 Broadway, 2nd Floor
Tickets: $18/$14 PERFORMA Members/$12 Students, www.performa-arts.org
November 14-16 at 8:30 pm
KELLY NIPPER, Floyd on the Floor
The Judson Memorial Church, 55 Washington Square South
Tickets: $18/$14 PERFORMA Members/$12 Students, www.performa-arts.org
** November 15-17 at 7 pm
XAVIER LE ROY, Le Sacre Du Printemps
Baryshnikov Arts Center, 450 West 37th Street
Tickets: $18/$14 PERFORMA Members/$12 Students, www.performa-arts.org
** November 16-17 at 8 pm
AIDA RUILOVA, The Silver Globe
The Kitchen, 512 West 19th Street
Tickets: $10, 212-255-5793 ext.11
** November 17 from 12-3 pm
NOT FOR SALE: Dance and Conceptual Art in Visual Arts
The Judson Memorial Church, 55 Washington Square South
Tickets: $5, www.performa-arts.org
** November 18 at 4 pm
Dance After Choreography: The French Aftershock
Anthology Film Archives, 32 Second Avenue
Tickets: $8/$6 students, seniors children/$5 Anthology and PERFORMA Members, available day of show at the Anthology Film Archives Box Office
Two films are shown: Boris Charmatz & Dimitri Chamblas’s Les Disparates and Jerôme Bel’s Veronique Doisneau.
** November 18-19 at 7 pm
YVONNE RAINER, RoS Indexical
The Hudson Theatre at the Millennium Broadway Hotel
Tickets: $18/$14 PERFORMA Members/$12 Students, www.performa-arts.org
Recent Posts by gia
·
Next entries »
