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Jiří Kylián

Relevé AC offers free ballet at their school in Mexico Relevé AC offers free ballet at their school in Mexico

Dancers of Nederlands Dans Theater Give Back

Did you need another reason to admire Nederlands Dans Theater—something beyond the characteristic sleekness and power that has built their reputation and hiked their YouTube views for decades? How about the fact that they are giving back on a yearly basis–putting a ballet slipper on a brand-new

DancePulp at Dance On Camera 2015 DancePulp at Dance On Camera 2015

A Conversation on Dance On Camera 2015

Following the 2015 Dance On Camera Festival at Lincoln Center last week, Anna Rogovoy and I engaged in a lengthy email chain on what we saw and experienced. Sit in on our conversation, and share your own reactions with us in the comments: EF:  The content is so well rounded at Dance…

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Still from "All That Jazz" | Directed by Bob Fosse | 1979 Still from "All That Jazz" | Directed by Bob Fosse | 1979

Films for Every Fancy

As dance flits from the stage to the street, the museum, the abandoned building, and even the iPad, an enduring trend is the Dance on Camera festival at Lincoln Center (a co-presentation with Dance Films Association). The 43rd edition of this series opens January 30 and runs through February 3, with…

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Last Touch First | Photo Robert Benschop Last Touch First | Photo Robert Benschop

REVIEW: Jiří Kylián and Michael Schumacher’s “Last Touch First” at the Joyce Theater

In the world of film, slow motion is a no-brainer for building tension. Where slowing footage with a mouse click is simple, real people performing slow motion rarely reads as realistic and is difficult to sustain. These considerations do not strike fear but rather interest for choreographers Jiří Kylián and Michael…

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Sylvie Guillem in "Bye" | Photo Bill Cooper Sylvie Guillem in "Bye" | Photo Bill Cooper

REVIEW: Sylvie Guillem’s “6000 Miles Away” at Lincoln Center

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.