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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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By and copyright Angharad Davies
(Originally published February 7, 2008.)
BERLIN — Watching Constanza Macras/Dorky Park’s newest creation “Brickland” is a lot like downing a frosty can of Red Bull, followed by a few shots of Nesquik. There’s not much rest for the eyes. The in-your-face, marinated in pop culture trashiness overwhelms in both the work’s thematic scope and its imagery. It’s almost like watching video after video on YouTube, but without the anesthetizing effects. And it’s definitely a lot more fun. The 12 inhabitants of “Brickland,” which takes its name from a vacant residential development in Macras’s hometown of Buenos Aires, use song, text, video, and movement to create a messy world that touches on a myriad of troubling and messy subjects. Climate change, incest, marriage, xenophobia, protectionism, bra-burning, homelessness and L. Ron Hubbard each rear their icky heads in this two-hour, intermissionless production.
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