Don’t miss out on expanded subscriber-exclusive coverage of dance, theater, film, literature, and art from around the world as presented on the most luminous stage in the world: Paris. To subscribe, for just $36 or Euros/year ($21 or Euros working artists & writers, teachers, and students), just desginate your payment through PayPal (in Euros or dollars) to email@example.com , or write us at that address to learn how to pay by check. Meanwhile, back in Gotham: Don’t miss DI Co-Principal Sponsor Freespace Dance (above) performing at the Booking Dance Festival NYC APAP Showcase, Saturday, January 5, 5:30 – 10:30 p.m. at Jazz at Lincoln Center.
Shihya Peng and Marco Di Nardo in Wang-Ramirez’s “We are Monchichi.” Fred Fouché photograph courtesy Maison de la Danse.
Copyright 2018 Anne-Charlotte Schoepfer
(First paragraph of English version follows first paragraph of French version below.)
LYON (Rhône-Alpes), France — Un propos fort couplé d’une mise en scène douce et enfantine : c’est le pari réussi des chorégraphes Honji Wang et Sébastien Ramirez de la compagnie éponyme. “We are Monchichi” c’est l’histoire de la rencontre entre deux danseurs étrangers, deux nationalités différentes qui doivent cohabiter et où vont se nouer et se dénouer les corps. C’est aussi l’histoire de deux immigrés débarquant en France qui doivent s’habituer aux clichés liés à leur pays d’origine. Cette pièce de 55 minutes, vue à la Maison de la danse le 22 Octobre — et reprise pour le Théâtre de La Ville le 21-25 novembre (Espace Cardin) et le 5-9 mars (aux Abbesses) — est adaptée à un jeune public. D’ailleurs la salle était remplie d’enfants et de familles ce soir-là….
LYON (Rhône-Alpes), France — A complex idea treated with a subtle and child-like direction: Such is the gamble in which the choreographers Honji Wang and Sébastien Ramirez and their eponymous company have emerged triumphant. “We are Monchichi” is the story of an encounter between two dancers foreign to France, two distinct nationalities which must cohabit and which tangle and untangle their bodies over the course of the 55-minute work. It’s also the story of two immigrants disembarked in France who must habituate themselves to the clichés associated with their birth countries. The piece, seen at the Maison de la Danse October 22 — and reprised at the Theatre de la Ville November 21-25 (Espace Cardin) and March 5-9 (Abbesses) — is perfect for a young audience. And indeed, the audience for the performance I caught was packed with children and their families….
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Haven’t yet subscribed to the DI? This week you’re missing Anne-Charlotte Schoepfer’s coverage, in French and English, of Sao Paolo Dance Company’s French debut at the Maison de la Danse in Lyon, featuring, above, Vinícius Vieira and Céu Cinzento in Clébio Oliveira’s “Cinzento,” photographed by Juliana Hilal. DI subscribers also receive, from the DI’s 20-year archives of more than 2,000 exclusive articles by 150 writers related to performances on five continents, Paul Ben-Itzak’s exclusive 1995 interview with the late Uwe Scholz, one of the choreographers featured in the company’s performance. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to email@example.com, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
By Philip W. Sandstrom
Copyright 2005, 2018 Philip W. Sandstrom
Founded in 1998 by a collective of professional dance artists and journalists to build the dance audience, tell stories not told elsewhere, and give a voice to dancers, the DI is celebrating its 20th anniversary this week by offering one-year subscriptions for just $20, including full access to our archive of 2,000 reviews of performances and art from around the world by 150 leading dance critics. Subscribe through PayPal by designating your payment to firstname.lastname@example.org, or write us at that address to learn how to pay by check. The longtime technical director of Dance Theater Workshop, acclaimed lighting designer Philip W. Sandstrom is a DI senior critic.
NEW YORK — For her new “Daylight,” Sarah Michelson radically reconfigured PS 122’s second-floor theater, effectively dropping a new performance space into the midst of the old one. If you’ve performed in or observed performances at this space, you know the stage is bisected by two permanent columns; Michelson plopped the seating — three custom-seating risers — adjacent to and in between these fixtures. Then she painted everything — including the walls — white. The only exception to this snowy landscape was Claude Wampler’s four large portraits of the dancers, delineated, etch-a-sketch style, in a continuous thin black line on an all-white canvas. A phalanx of upright chrome theatrical lights, mounted on poles like speared heads, confronted the audience at the lip of the stage. A gentle haze thinly filled the air and the theater was bathed in natural blue-sky light pouring through a large exposed window on the south side of the auditorium.
To receive the complete article, first published on June 28, 2005, subscribers please contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? This week you can subscribe to the DI for one year at the discounted rate of $20. Just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015.
Miracle-workers: The last time I saw Kent Lindemer, he was falling from the sky into the arms of three fellows two of whom he’d never worked with before. The piece was “Particle Zoo,” and the place was the Joyce Theater, which was good for the company, Pilobolus, because the scheduled fourth performer was sick, and Lindemer, a fungus alumnus, happened to live in the Chelsea neighborhood. (As I recall, the replacement was so last minute that Lindemer had no time to rehearse with his new catchers.) Apparently Lindemer was not bobbled and did not discombobulate into a million tiny particles, because I see here in the 20-year’s old and still going strong DI in-box that Lindemer is scheduled to be re-assembled Saturday at 8 p.m. by Yoga Mechanics — er, sorry, that should be *at* Yoga Mechanics — in lovely Montclair, NJ (I do like Jersey best) among a scintillating universe of dance veterans, including Nikolais and Murray Louis dance giant Alberto (you never write, you never call; please send company/foundation news) Del Saz and, above, the same troupe’s luminous alumna and my leading dance miracle-worker Donna Scro Samori, when her company hosts Freespace Dance 40+. Also featuring Stephanie Beauchamp, Janette Dishuk, Loretta Fois, Rick Kitts, Andrea Kron, Lynn Needle, Stephanie Nerbak, Wendy Reo, Joelle van Sickle and Leslie Smollen Wuebben. Ticket info here. Tony Turner photo courtesy Freespace Dance. — Paul Ben-Itzak, Dance Insider co-founder
Compagnie Burn Out in Jann Gallois’s “Quintette.” Photo by and copyright Laurent Philippe and courtesy Maison de la Danse.
Par /by Anne-Charlotte Schoepfer
Copyright 2018 Anne-Charlotte Schoepfer
(Published in French and in English, you’ll find the first paragraphs of both versions below. For the complete versions — in both languages — and more photography, subscribers please e-mail email@example.com . Not already a subscriber? Subscribe with PayPal for just $29.95/year by designating your PayPal payment to firstname.lastname@example.org, or write us at that address to find out how to subscribe by check. Subscribers get full access to the Dance Insider & Arts Voyager’s 20-year Archive of more than 2000 exclusive reviews by 150 critics of performances and art from five continents, plus the Jill Johnston Letter.)
BRON (Rhône-Alpes), France — “Quintette”, vu le 1er mars, c’est l’histoire de cinq personnes, de cinq êtres humains qui se rapprochent, se décrochent ; s’entendent et se déchirent… Dans cette pièce de 50 minutes présentée à Pôle en Scène (Bron) dans le cadre du festival Sens Dessus Dessous de la Maison de la danse de Lyon, la jeune chorégraphe Jann Gallois a exploré toutes les facettes de l’accrochage et du décrochage par le mouvement. En fait, elle traverse le fait de laisser son égo de côté et de s’entendre ensemble ou alors bien au contraire de se mettre en avant et de tomber dans la dispute et la cacophonie totale. On passe alors par des moments très fluides et très doux à des moments très saccadés dans le corps et très bruyants par la voix….
BRON (Rhône-Alpes), France — “Quintette,” seen March 1, is the story of five people who come together, break apart, sympathize with each other and rend each other asunder. In the 50-minute piece, presented at the Pôle en Scène as part of the Sens Dessus Dessous festival organized by the Maison de la Danse in nearby Lyon, the emerging choreographer Jann Gallois explores every facet of connecting and disconnecting (in French, ‘accrochage’ and ‘décrochage’) with movement. As the dance develops, Gallois explores what happens when one abandons the ego, or, by contrast, elbows everyone else out of the way, leaving the ensemble to collapse into disaccord and complete cacophony. We thus careen between fluid and gentle passages and staccato jumps and starts punctuated with explosive vocal eruptions….