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By Paul Ben-Itzak
Copyright 2002, 2017 Paul Ben-Itzak
(Author’s Note: The first dance response to the terrorist attacks of September 11, 2001 — today more relevant than ever.)
PARIS — AIDS had its Tony Kushner to write it a fantasia, and now 9-11 has its Maguy Marin to furnish a plan for action, an artist who both captures the actual calamity and lights the escape route. With her new “Points de Fuite” (“Points of Escape”), which premiered last night at the Theatre de la Ville – Sarah Bernhardt, Marin not only affirms the appropriateness of an artistic response to 9-11 and the aesthetic potential of such an expression, but its absolute necessity to finding points of escape from the despair, depression, rage and helplessness which continue to emanate from our literal, moral, and political ground zero in the wake of September 11.
To receive the complete article, first published on February 13, 2002, subscribers please contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the DI for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating 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 Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at email@example.com.
Among the eclectic collection of the late French lawyer Paul Lombard to be auctioned off by Artcurial in Paris October 10: André Dunoyer de Segonzac (1884-1974), “Danseuse, Isadora Duncan – 1910.” Ink on paper, 9 x 13 3/8 inches. Signed and dated lower right. Artcurial pre-sale estimate: 300 – 400 Euros. Image courtesy and copyright Artcurial.
By Paul Ben-Itzak, with contribution by Lisa Kraus
Copyright 2003, 2017, Paul Ben-Itzak & Lisa Kraus
PARIS — Why does Trisha Brown have to cross the Atlantic Ocean to find a major ballet company to undertake her choreography? Why does New York City Ballet refuse to look below 42nd Street for additions to its repertoire, instead padding its Balanchine and Robbins legacy with filler from Peter Martins and others? I fumed over these questions last week at the Palais Garnier, as I exalted over the Paris Opera Ballet’s breathless interpretations of two newly acquired American masterpieces, Brown’s 1979 “Glacial Decoy,” with photography, sets, and costumes by Robert Rauschenberg, and Balanchine’s 1960 “Liebeslieder Walzer,” to Brahms.
To receive the complete article, first published on December 30, 2003, subscribers please contact publisher Paul Ben-Itzak at firstname.lastname@example.org. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. 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. You can also purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions) Contact Paul at paulbenitzak@@gmail.com .
By Paul Ben-Itzak
Copyright 2000, 2017 Paul Ben-Itzak
PARIS — The main reason I love dance is its ability to dream, and to help me dream. It dreams every time a dancer leaps for the sky, and everytime she contracts her abdomen. It dreams when a lover instinctively clutches a partner and when the partner instinctively falls into the lover’s arms and is caught. It lives from image to image, with the flow of a dream; nothing seems pre-meditated, everything seems instinctual. As in a dream, the connections aren’t always logical, or even readily decipherable. But also like a dream, the images convey a tangible, not always describable, feeling. With “DeaDDogsDon’tDance,” which sold out three performances this weekend at the Theatre de la Ville – Sarah Bernhardt here, Needcompany and Ballet Frankfurt have upped the anti, creating a danced play that presents as totally unpremeditated. This is as rough and raw as it gets, folks — the stuff that dreams, and nightmares, are made of.
To receive the rest of the article, first published on November 6, 2000, subscribers can contact publisher Paul Ben-Itzak at firstname.lastname@example.org. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015, plus five years of the Jill Johnston Letter. Just designate your PayPal payment to email@example.com, or write us at that address to find out about payment by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Purchase by May 31, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at firstname.lastname@example.org .
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Berlin’s Constanza Macras, Portugal’s Vera Mantero, Belgium’s Alain Platel, Spain’s Israel Galvan, Crystal Pite — these are just a few of the choreographic giants coming to Paris this Spring that the Dance Insider & Arts Voyager will be able to cover with your support.
Many of you first read about these internationally renowned choreographers for the first time on the DI and, continuing our 20-year mission of bringing you stories not told elsewhere and giving a voice to dancers, we’ll also be reporting on Giulio D’Anna, a Netherlands-based Italian choreographer whose “OOOOOOO” is inspired by Zagreb’s “Museum of Broken Relationships,” and Jasna Vinovrski’s “Lady Justice,” addressing the relationship between justice and art. Speaking of art, we’d also like to bring you Yasmina Reza’s “Art” as interpreted at the Theatre de la Bastille by the pioneering Belgium theater company STAN — co-founded by Anne Teresa de Keersmaeker’s sister. And of intersections between art and society, this year’s Chantiers (Building Projects) d’Europe festival at the Theatre de la Ville features countries in the front lines of the refugee crisis, notably in six short films from Greece addressing this topic and a public brainstorming session with artists from six countries. And we’ll bring you into the studios of the 200+ artists taking part in the Open Studios of Belleville — a neighborhood which in its very MULTI-CULTURAL contours and dimensions provides the best retort to the cloistered vision of French culture represented by the National Front. (We share the FN’s stated pride in traditional French culture; we simply argue that this definition is too limited and does not do justice to the grandeur and ouverture to the world that has always been French culture.)
To be there, in addition to the support of our current subscribers and sponsors, whom we thank infinitely, we need bring in at least $1500 from new subscribers and sponsors. This will be used to help cover housing and transportation. (An American colleague in Paris has offered us a special price on lodging.)
Already a subscriber or sponsor? Please forward this article. Want to become one? Contact us at firstname.lastname@example.org . Subscribers receive full access to our 20-year archive of more than 2,000 reviews by 150 leading dancer-critics of performances on five continents, plus five years of the Jill Johnston Letter as well as Arts Voyager art galleries, film reviews, and travelogues from Paris, New York, and across the U.S.. Sponsors receive this plus advertising on The Dance Insider, and/or the Arts Voyager.
(If we do not raise enough to return to Paris this Spring / Summer, all new donors, subscribers, and sponsors will be given the option of recuperating their pledge or having it applied to current and/or future coverage, including our ongoing project to put the entire DI 20-year archive online.)
On a personal-professional level, your support will also help me make my own career transition as a French-to-English translator, making it possible for me to participate in a translators’ festival taking place in Paris this June, essential for my being able to continue to pursue 40 years of building bridges between nations in a new form. And to access essential health-care (‘access’ because the costs for this will be paid for by myself with help from my family).
France, too, is at the crossroads. On May 7 — my 56th birthday — the country will choose between the fear represented by the National Front and the hope and optimism represented by Emmanuel Macron. Between closure and opening. In the campaign between these two ‘cultures’ that has raged in this country for the past two years, CULTURE has been all but forgotten. (Among Macron’s refreshing ideas: More library hours.) With your help, we will be able to do our part in restoring some light to what has always been France’s principal calling card around the world. Our calling for more than 20 years.
Many thanks and
Subscribe to the Dance Insider & Arts Voyager today for just $29.95/year or 29.95 in Euros and get complete access to our 20-year archive of more than 2,000 exclusive reviews of performances on five continents by 150 writers, plus commentary, art, Jill Johnston & more. 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. Institutional rate of $99 or 99 Euros/year gets full access for your entire company, school, etcetera. Sponsorships start at just $49/month and include placements like that above for DI sponsor Freespace Dance. Photo of Freespace Dance’s Donna Scro Samori and Omni Kitts by and copyright Lois Greenfield. Sign up as a sponsor before May 1, 2017 and receive a second month free. Contact firstname.lastname@example.org . Subscribe before May 1 and receive a second, gift subscription for free.