I asked Eiko Otake to describe her latest work, A Body in a Station, which took place this past October in Philadelphias 30th Street Station. One woman comes into the station, walks around, lies down, watches people and is watched by them, then leaves, she said in reply.
Visitors choice: I watch three performers as they interpret excerpts from Xavier Le Roys solo works (1994 2010). Or maybe I become the audience for a performer who is delivering a Retrospective. I might enter the second room, and be greeted by two other performers in a more informal (no dancing) environment. The last option is to enter a third rooma surprise that I will not spoil here.
A few weeks ago, I sat in on two of Neil Greenbergs rehearsals for This, his new dance premiering at New York Live Arts in early December. The first rehearsal was in Live Artss Jerome Robbins studio, the second was at the Actors Fund Arts Center.
Since the dawn of tap to the emergence of vogue, movement vocabularies founded in the nightclubs, parks, and community centers of New York City have defied the constructs of proscenium dance performance. Yet, due to their development primarily outside of institutional art spaces, these dance forms are widely referred to as street dance, a label that in some contexts is employed pejoratively, and in others is the source of deep pride.