After a year of artistic stasis and isolation, Ivan Talijancic notices a trend of new international residencies dreamed up by New York artists. With tentative light at the end of the pandemic’s tunnel, and a bleak political reality in America, three choreographers look to a hopeful future on foreign shores.

How eternal was Romeo and Juliet’s love? Ivan Talijancic chats with playwright Melody Bates about R & J & Z, a companion piece (and radical reimagining) of Shakespeare’s classic, the script for which was just published a few years after the play’s smash production. There will be love—and blood.

Janessa Clark speaks with Rail contributor Ivan Talijancic about her virtual performance project Communion, engaging 32 dance artists in duets across time and space.

This month marks the return of the Dance on Camera Festival, which has been taking place in New York annually for nearly half a century. As the world is still reeling in the throes of COVID-19, this festival too takes an unprecedented turn towards an all-virtual edition for the first time in its 48-year history.

Although I carry dice in my backpack, I don’t use them. I guess they are there just in case I need to summon the goddesses. And, though I teach the use of chance in dancemaking, I personally don’t use it with the intentionality of, say, Cunningham, where I ostensibly give over authorship to the universe. My work is sort of the opposite: the place where chance enters and is welcome is whatever I can capture from real life in rehearsal.

Stone returns to New York with his highly anticipated production of Medea. Originally staged in 2014 with Dutch actors at Ivo van Hove’s Internationaal Theater Amsterdam, the New York version, presented at the Brooklyn Academy of Music, features Rose Byrne and Bobby Canavale. After an early January rehearsal, the intrepid writer/director answered my questions about his current production and his recent works.

Later this month, New York audiences will finally have the opportunity to discover Papaioannou’s work—and just in time too: after two and a half years of touring around the world, the upcoming performances of The Great Tamer, presented at the Brooklyn Academy of Music’s Next Wave Festival as part of incoming Artistic Director David Binder’s inaugural season, will be the show’s last.

Erika Latta and I met as graduate students at Columbia University’s School of the Arts in New York where, upon the completion of our studies, we co-founded a multidisciplinary performance group, WaxFactory, in 1998.

It has been a while since one of Crystal Pite's powerful "homegrown" evening-length productions graced New York City's stages. In addition to various external commissions, Pite makes work with her Vancouver-based company, Kidd Pivot.

It is a brisk late-August day in Berlin and I am at the Radialsystem V, the former water purification plant flanking the banks of the river Spree, which the choreographer Sasha Waltz and her longtime collaborator and partner, the dramaturg Jochen Sandig, converted into a multipurpose art venue a decade or so ago. Though I have visited the space on numerous occasions in the past, the spacious lobby, as well as the expansive performance hall of Radialsystem, seems almost unrecognizable, having been stripped of the usual vestiges of a performance venue. I am here to see EXODOS, a new immersive dance-theater work by Waltz, and to speak with her about her company’s upcoming US premiere of Kreatur, which lands at the Brooklyn Academy of Music in early November as part of the Next Wave Festival.

It is a brisk late-August day in Berlin and I am at the Radialsystem V, the former water purification plant flanking the banks of the river Spree, which the choreographer Sasha Waltz and her longtime collaborator and partner, the dramaturg Jochen Sandig, converted into a multipurpose art venue a decade or so ago.

Kimberly Bartosik kicked off her professional career with a nine-year-long adventure dancing for the Merce Cunningham Dance Company (1987 – 1996), the work for which she then received a Bessie Award in 1997. Since then, she has been steadily and methodically building a choreographic body of work, characterized by a rigorously detailed exploration of physicality and a keen interested in creating multidisciplinary performance environments.