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By Nancy Dalva
Copyright 2002, 2017 Nancy Dalva
NEW YORK — Sasha Waltz’s “Korper” — which traveled from its home theater, Berlin’s Schaubuhne am Lehniner Platz, to the Brooklyn Academy of Music’s 20th Next Wave Festival last week — really does feel like something new, or rather, something neo. This is what German expressionism looks like in the 21st century: a fusion form, as much deconstructed as constructed, but reliant on the German past for its root images and its ur-meanings, as I intuit them. “Korper” — which means body, and which is about the body — is a 90-minute ensemble piece with an international cast of 13. It unfolds with an eerie lack of tone. The funny, the tragic, the weird, the obscure, the preposterous — they’re all given the same weight, which gives the piece the look of surrealism and the feeling of a dream.
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