Dance

In Performance: Custodians of Beauty – Pavel Zustiak/Palissimo (COIL 2017)

PS 122 COIL 2017 Custodians of Beauty Pavel Zustiak/Palissimo (NYC) La MaMa, The Downstairs 66 E 4th St Jan 5 – 8pm Jan 6 – 5pm Jan 7 – 5:30pm Jan 8 – 2pm A dancer in all black, barely visible, folds into and out of himself, his body unfurling like a flower or a fractal. A cloud of haze hangs suspended in the air and slowly makes its way towards the audience. Three figures spring from side to side before losing themselves in a driving electronic beat. Taking its title from a 2009 speech given by Pope Benedict XVI to a group of artists, Palissimo’s Custodians of Beauty puts forward a series of diverse poetic images, and through them asks us to consider the concept of beauty and our responses to it. Director/choreographer Pavel Zustiak and his collaborators create rich tableaus that linger i...

In Performance: Meg Stuart, An evening of solo works (American Realness)

In the four solos making up this program, Meg Stuart passes through phrases, gestures, and poses with a rapid fluidity. Like a swimmer tapping the side of the pool between lengths, her body moves towards an image or an idea, touches it gently, and is moving away from it again almost before we’ve even registered she was there at all. This approach extends to her emotional state as well. She constantly interrupts herself, sending her body on a nonlinear journey through emotional and physical memory. Her choreography throws the viewer into a new frame of reference at all times, and we begin to question how one body can contain so many attitudes and experiences. At the same time, she collapses the distance between seemingly disparate states. How separate, after all, are the wildly different fe...

Almanac 2016: Gustavo Monteiro (Porto, Portugal)

“Looking for the face I had before the world was made” it’s a journey through the labyrinth of the mind. Who am I? This is a question that it’s common to all and that it’s part of our instinct, but for which society has created rules to suppress in order to go against chaos in our heads. Francesca Perrucci, a born performer, will in a kind of sacrifice or a kind of self-imposed life sentence (as if Zen-like passivity meets a hollowed-out capitalist madness), challenge her limitations in order to discover new answers about herself and the world around her. “Looking for the face I had before the world was made” is an emotional and touching performance. CREDITS: Created: 2015 Choreography & Direction by: Gustavo Monteiro Created with & Performed by: Francesca Perrucci Music: Godspeed You...

Almanac 2016: Rebecca Bryant Danceworks (Long Beach, California, USA)

MANUFACTURED is an 18-minute dancework combining contemporary/post-modern dance with text and objects. The piece features fifty small cardboard boxes, ‘derelict’ costumes that can be donned and transformed onstage, spoken and projected text, and a soundscore by collaborator Don Nichols. This multimedia performance experience investigates the relationship between privilege and empathy. Our society is full of imagery, hyperbole, and metaphors that describe and delineate the differences between those who ‘have’ and those who ‘have not’; this work aims to explore the ways in which these images and metaphors limit our perception of other human beings. Onstage situations placing privilege/affluence up against need/misfortune are configured and re-configured with the audience’s preferences in min...

Almanac 2016: Riccardo Attanasio Matlakas (London, UK)

Sweet Thorn Durational Street Performance By Riccardo Attanasio Matlakas Curated by Anis Daraghma Statement: I will be dressed of barbed wire and I will walk in the street. On the barbed wire there will be 50/80 Roses. I will blow balloons and will write sentences on them then will burst. The sentences will be words and things I don’t want anymore for human being a society. I will then cut the barbed wire to make a stem. On each stem I will tight 2 or 3 bursted balloons and make a white flower out of it. I will then give a rose and a white hand made flower to someone passing by as a symbol of regeneration and blossoming future. At the end of the performance with the remaining of the barbed wire and roses there will be made an installation that will create a big flower with a Rose Bouquet...

Almanac 2016: COMPAÑÍA DE CREACIÓN ESCÉNICA (MADRID, SPAIN)

About “ Amor de Don Perlimplín con Belisa en su jardín” “Amor de Don Perlimplín con Belisa en su jardín” talks about frustration. It is about the human beings difficulties to get over frustration, which happens to be the cause of aggressiveness. Both frustration and aggressiveness get together in this piece to devastate everything on their way, from Perlimplín´s harmless innocence to Belisa´s palpitating cheek. Nothing can relieve us when frustration takes control and our worse instincts flourish to overtake our will. Is in this moment when tragedy appears, anticipated by human beings condition, unavoidable though. In our piece we present actors as kind of puppets. A demiurge´s hand seems to move them without any will. It is the hand of lust, greed and, of course, frustration. It´s all ...

Almanac 2016: Kate Mueth and The Neo-Political Cowgirls (East Hampton, NY, USA)

VOYEUR is a multi-room theater piece which is music-driven that consists of 5-8 different "private moments" among women. Each room is a separate vignette exploring a specific issue usually kept quiet in the life of a person. VOYEUR can address anything and NPC is happy to incorporate particular issues our client may like to see addressed. (No, we do not perform sex acts or apply shock for shock value tactics.) Some topics from past VOYEURS- a daughter emulating her mothers insecurity with her body, lovers arguing, a teen and her mother trying to relate, an artist fighting to create art, a woman eating in a secret place, an old woman having a wonderful time alone, a young woman lonely at a party, etc. The performances utilize dance, movement, and sometimes text. At times heartbreaking, oth...

Almanac 2016: Untitled Theater Company No. 61 (New York, United States)

Money Lab is an economic vaudeville, a multi-disciplinary experiment to discover whether economic ideas can be represented through performance. It uses a mixture of theater, dance, video, cabaret, opera, puppetry, and games in order to explore everything from the gold standard, to the 2008 stock market collapse, to the theories of some of the most noteworthy economists (such as Adam Smith, Karl Marx, Arthur Laffer, and Elinor Ostrom), to the intersections of economics and art. Among the elements presented during the evening are audience participatory games based on economic behavioral experiments, including auctions, The Dictator Game, and The Ultimatum Game, developed with the help of Game Play curator Gyda Arber and economist Rosemarie Nagel; and a number of rotating acts. Upon entering,...

Almanac 2016: Rosanna Terracciano (Calgary, Canada)

“My mom has always loved polka-dot flamenco dresses. My dad has always loved dancing the polka.” Flamenco meets polka. POLKA(dots) is Rosanna Terracciano’s newest experiment in flamenco performance, created and interpreted by Terracciano. POLKA(dots) is the follow up to Terracciano’s last work which premiered internationally at the prestigious Bienal de Flamenco Sevilla in 2014. POLKA(dots) is a multi-coloured solo in collaboration with bata de cola and farolillos, aka long flamenco dress (one) and paper patio lanterns from the annual Sevilla spring fair (many). POLKA(dots) is a commentary on the act of celebrating, where dances and stories for polka-dots and polkas set the stage for play and for remembering past moments of play. POLKA(dots) includes a unique original score by Calgary ex...

Almanac 2016: Dapheny Chen (Singapore, Singapore)

A Box Full Of. This is hugely inspired by the humble abode – the Housing Development Board (HDB) flats in Singapore. The new flats are getting smaller with some rooms only being able to house a double bed and a wardrobe. What struck me the most was how constraint some of the spaces were and the vast difference in the older versions of the HDB. It is evident that we have traits that are similar to Japan’s and Hong Kong’s tight living society. As population rises, the demand for residential living increases and in relation, space getting sparse and expensive. Unless we are blessed with financial wealth, the majority of us would have to settle for a HDB and in turn how are we able to make such a tight space livable while sharing a ‘home’ with the rest of the family. as a family unit, as a...

Almanac 2016: Circus Foetus (Brussels, Belgium)

In Or Cirque, the traditional circus archetypes of the clown and the trapeze artist are stretched and twisted, becoming objects among objects. Or cirque is a rite of passage. A beginning and an end. It’s a subject/object piece, a separate entity over which we have little control. The soundtrack oscillates between Nico's "My only child", Toshimaru Nakamura’s “No-input mixing table”, Beyoncé’s hit “Drunk in Love”, and Étienne Daho and Jeanne Moreau’s version of Jean Genet’s “Le condamné à mort”.

Almanac 2016: Kuttu Kalai Kudam – Centre for Performing Arts (Punjarasantankal Village, Kanchipuram district, India)

The founder of the Kattaikkuttu Gurukulam, actor, director, playwright and teacher P. Rajagopal strongly believes that becoming a Kattaikkuttu actor or musician is a dignified choice that should be open to all. His single-minded determination has led to many firsts: With quality education and artistic training under one roof and accessible to the poor, children no longer drop out of primary education when they become a performer (Rajagopal’s own experience). For the first time in its history, Kattaikkuttu has opened its doors to girls with efforts in full swing to break the social taboo that prevents rural girls and women from entering the stage. The photograph shows Arjuna, displaying a mask-like make-up and head-gear that is typical of Kattaikkuttu’s epic repertoire. What makes this phot...

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