Sylvie Guillem presents something of a conundrum for dance criticism. Typically, it’s possible to separate the dancer from the dance — to distinguish the merits of the choreography itself, from how the dancer executes it and brings it to life.
The 47-year-old Guillem has performed so many roles and styles over her long career that this would seem to be an easy task. And yet, watching her inhabit tailor-made works in “6000 Miles Away,” it was hard to imagine anyone else performing them — for she is one of those rare artists whose instrument alone expands the boundaries of what dance can express.
In the program recently staged by The Joyce at Lincoln Center, Sylvie’s instrument was in the hands of William Forsythe and Mats Ek, from whom the ballerina commissioned two original works to flank an excerpt from Jiří Kylián’s explosive “27’52”.”
For both Forsythe and Ek, classical ballet provides as much a foundation as a subject for artistic commentary. That is about where the similarities between the two choreographers end, however. Whereas Forsythe’s steely “Rearray” puts Guillem’s exceptional technique under a microscope, Ek gives it a back seat in “Bye” — a work that, best it can, portrays Sylvie as a normal human being.
Peridance Capezio Center in NYC has some exciting news for young dancers looking for a change of pace in the world of Summer Dance Intensives.
BLUEPRINT, a brand-new, two-week contemporary ballet intensive program in New York City, is set to take place August 20-September 1 2012. Auditions for this exciting opportunity have already begun and will continue internationally throughout the winter and spring. In collaboration with dance icon and founder of DancePulp Drew Jacoby, Peridance has brought together an irresistible faculty for professional dance hopefuls ages 16-22.
This year, tickets to the 8th annual Fall For Dance Festival at the newly renovated New York City Center sold out in four hours. Audiences are ready to see dance. Whether they are avid arts-goers or first-timers to the theater, this week houses will fill as lucky ticket holders are presented with five diverse programs of companies from around the globe. To prepare for the Fall for Dance Festival (and our extensive coverage of it here at DancePulp) I interviewed Executive Director and CEO of City Center, Arlene Shuler and Stanford Makishi, Artistic Advisor for Fall For Dance this year.
Houston Ballet took their debut spin around the Joyce stage last night with Falling Angels, ONE/end/ONE and Hush. Jiří Kylián’s Falling Angels, one of the choreographer’s fan favorites, is often selected by ballet companies to showcase contemporary capabilities. I have seen the piece before, performed by the National Ballet of Georgia, but this time Houston Ballet helps me notice a few new inner-workings. First, a heavy load of unison makes it difficult to choose whether to view the movement as a corps of moving bodies or to single out one individual to more closely study the quick, precise gestures. In this opening section, the movement is clean and minimalist, focused on arm angles correlated with Steve Reich’s drumbeats. For me…
Last night, students of the Cedar Lake Contemporary Ballet summer 2011 Intensive Program, performed in an interactive installation piece entitled 360º at Cedar Lake’s homebase in NYC. Drew Jacoby and I joined the audience, circling the action rather than in rows of neat seats. In the current performance trend of audience…
New York City Ballet Director of Media Projects (and former NYCB soloist) and dance advocate Ellen Bar speaks extensively on why dance, and the arts in general, are a necessary part of our lives.
In an exciting return to the US, Mariinsky Ballet, under the direction of Valery Gergiev will be performing Ratmansky’s Little Humpbacked Horse as part of their engagement with Lincoln Center Festival.Dance Pulp is giving away two free tickets! We want to give them to you! Read on to find out how you can win!
Editors Note: This is a collaborative post between Drew Jacoby and Emeri Fetzer and we hope to engage our readers in discussion. An important aspect of the mission of DancePulp is to encourage our followers to think about the importance of dance and to actively support arts advocacy. Early this…
Dancing Is the Best Way to Be Myself Season 2: Episode 4 | 18:48 Bayerisches Staatsballett (Bavarian State Ballet) principal dancer, Lucia Lacarra, shares her experiences of changing companies several times, why she doesn’t bring her pointe shoes home, and where she gets her inspiration.
Dresden Semperoper Ballett principal Raphael Coumes-Marquet describes his early training at Paris Opera Ballet school, how adversity sometimes brings blessing, and the importance of having a fresh approach to work even after a long career.