I know New Yorkers hate audience interaction, Jeremy Wade said half apologetically to his small audience before instructing us to get up out of our chairs and engage in a bit of partner-focused aura cleansing.
A broken white line rushes through the dark. We hurtle with it, as on a highway, until the line splits, becomes a barcode, a chromosomal map, a latticework of alphabetic sign. A woman emerges from the black; shes joined by a man and they dance, ballroom style, their swirling figures tattooed by the light of the criss-crossing graphics.
i>Mad in me is Driscolls latest work, purporting to investigate the physical [i.e., dance] and theatrical narratives that drive our misplaced need to be seen.
After the opening performance of STREBs Run Up Walls (continuing weekends through May 23) at her action lab in Williamsburg, much of the audience stuck around to celebrate the publication of Elizabeth Strebs How to Become an Extreme Action Hero (The Feminist Press, 2010).
p>In Robert and Maria, at Danspace Project April 15-17, collaborators Maria Hassabi and Robert Steijn begin in a long embrace, their backs to the audience. A low vibratory sound fills St. Marks Church, my organs, and my brain.
It started in the church garden and I think we were supposed to move around, but it was dark and I couldnt. Led Zeppelin played in the background and the dozen or so dancers ethereally faded into the evenings darkness
It was rather peculiar to hear the opening notes of Tchaikovskys heart wrenching Swan Lake at the Center for Performance Research, an intimate venue in Williamsburg that provides affordable space for rehearsal and performance of contemporary dance.
On an 80-degree evening in April, I sensed the crowds excitement for ZviDances new Zoom at Dance Theater Workshop. The evening-length work was publicized as an integration of dance, cell phones, video, projection, a real-time web interface and live music.