Big Eater at The Kitchen
March 11, 2010 · Posted by Dancing Perfectly Free ·
Andrew Dinwiddie and Neal Medlyn in David Neumann’s Big Eater, photo by Paula Court
An inebriated David Hasselhoff, a Big Mac, Giselle, and pretentious panel discussions – these are just a few of the sources that shaped David Neumann’s Big Eater, which was performed at The Kitchen last weekend and continues through this Saturday. This may sound like a recipe for big laughs, but Big Eater is a dark, depressing work filled with piles of language and movement – not to mention a pile of chairs from floor to ceiling – that become denser and more disorderly as the work progresses. ...
Book Review: Gwendolyn, The Graceful Pig
March 10, 2010 · Posted by 4dancers ·
This charming kids book makes a great gift for a younger child (designed for ages 3 to 8). At 40 pages, there is plenty to look at, and the illustrations are darling.
The story is about Gwendolyn and her pig pal Omar and their pursuit of a dream. Gwendolyn longs to be a ballerina, while clumsy Omar is hoping to score a spot on the football team.
It’s a simple story, but one with an uplifting message of hope. Children have the chance to see that you can reach your dreams, and that hard work does indeed pay off.
I loved that the story appeals ...
Salon NOTEBOOK: Grisha Coleman
March 9, 2010 · Posted by trailerpilot ·
Grisha Coleman, left, and a design concept for echo::system.
Salon NOTEBOOK: Grisha Coleman, February 28, 2010
by Zachary Whittenburg
Information pours forth from Grisha Coleman in discussion of her work at approximately the same rate it enters and is chewed up by her data-driven, multidisciplinary performance pieces. I struggled to keep pace with pen on paper as Coleman burned vocal rubber through a breakdown of parallel reality streams, diversions into aboriginal Australian practices, and explication of the lasting impact of being an Urban Bush Woman. Coleman is currently Professor of Movement, Computation and Digital Media in the School of Arts, Media and Engineering ...
dance flash and review @ the appeal: hope mohr and sf ballet
March 8, 2010 · Posted by dance in san francisco ·
Two things from last week at the SF Appeal:A Q&A with Hope Mohr:"I made many detours away from the path of dancing, but I finally heard--and listened to--the voice inside that was still saying, "Dance!" I had to return to dance to be true to myself."And a review of SF Ballet's Program 4 (which was held until this AM b/c of a backlog):"It's almost like a battle: think Eminem in pointe shoes (oh gee, what an image), battling with his body instead of his mouth."
Related posts:dance flash @ the appeal: sf ballet 2010, program 3
dance flash @ the appeal: sf ...
koosil-ja’s Body, Image, and Algorithm
March 8, 2010 · Posted by Dancing Perfectly Free ·
Ava Heller, Elise Knudson, and Melissa Guerrero in koosil-ja’s Blocks of Continuality/Body, Image, and Algorithm, photo by Yi-Chun Wu
Dance Theater Workshop was transformed into a laboratory last Thursday evening for koosil-ja/danceKUMIKO’s Blocks of Continuality/Body, Image, and Algorithm. Multiple flat screens hung from the ceiling, a musician sat upstage, a weird-looking contraption with tubes was placed in the downstage right corner, and a line of computer programmers worked on laptops along the front of the stage. These were some of the necessary components for koosil-ja’s exploration of movement, digital media, and visible and invisible aspects of the body. Based on her ...
Promising power
March 6, 2010 · Posted by danceJournal ·
By Ellen Dunkel | For The Inquirer
Pennsylvania Ballet brings back Matthew Neenan’s “Carmina Burana” and shows off new dancers, new energy.
Pennsylvania Ballet premiered Matthew Neenan’s Carmina Burana at the Academy of Music in March 2007 to great fanfare, then took it to New York’s City Center, then packed it away.
It hadn’t been seen since until Thursday night, when the company brought it back to the Academy on a program with Balanchine’s The Four Temperaments.
Carmina is a rich piece with a large cast, many (quirky) costume changes, and Carl Orff’s rowdy “secular cantata” performed by the Orchestra of the Pennsylvania Ballet ...
Promising power
March 6, 2010 · Posted by danceJournal ·
By Ellen Dunkel | For The Inquirer
Pennsylvania Ballet brings back Matthew Neenan’s “Carmina Burana” and shows off new dancers, new energy.
Pennsylvania Ballet premiered Matthew Neenan’s Carmina Burana at the Academy of Music in March 2007 to great fanfare, then took it to New York’s City Center, then packed it away.
It hadn’t been seen since until Thursday night, when the company brought it back to the Academy on a program with Balanchine’s The Four Temperaments.
Carmina is a rich piece with a large cast, many (quirky) costume changes, and Carl Orff’s rowdy “secular cantata” performed by the Orchestra of the Pennsylvania Ballet ...
The old, the new, moving together
March 2, 2010 · Posted by danceJournal ·
By Merilyn Jackson | For The Inquirer
This year’s installment of Philadelphia Dance Projects Presents opened Friday night with part one of the Local Dance History Project/Next Up series, tracking the city’s dance past into the future – what was, who was, what will be, and who will be dancing it.
In a preshow video at the Performance Garage, Philadelphia Dance Projects executive director Terry Fox said, “It’s important that dancers be remembered as part of the landscape of this city,” and what followed painted small pictures of that landscape.
The video featured some of the major ...
The old, the new, moving together
March 2, 2010 · Posted by danceJournal ·
By Merilyn Jackson | For The Inquirer
This year’s installment of Philadelphia Dance Projects Presents opened Friday night with part one of the Local Dance History Project/Next Up series, tracking the city’s dance past into the future – what was, who was, what will be, and who will be dancing it.
In a preshow video at the Performance Garage, Philadelphia Dance Projects executive director Terry Fox said, “It’s important that dancers be remembered as part of the landscape of this city,” and what followed painted small pictures of that landscape.
The video featured some of the major ...
Black Grace brings slap dancing to the Kimmel
March 1, 2010 · Posted by danceJournal ·
By Ellen Dunkel
For The Inquirer
A dancer’s body is his instrument. That’s especially true for the performers of New Zealand’s Black Grace, whose bodies double as percussion instruments.
The seven short pieces on the program, which opened Friday night at the Kimmel Center’s Perelman Theater, were all choreographed by the company’s founder and artistic director, Neil Ieremia. The pieces, which blended modern dance with the movement and concepts from Ieremia’s Samoan heritage, included slap dancing – speedy patterns of stamping feet, clapping hands, and slapping the arms, abdomen, and legs. The dancers also sang, chanted, and audibly sighed.
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Related posts:Black Grace ...
