By Chris Dohse
Copyright 2003, 2018 Chris Dohse
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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.
By Susan Yung
Copyright 2000, 2016 Susan Yung
(Originally published April 10, 2000. Julie Atlas Muz performs with husband Mat Fraser — who she met while both were performing in the Coney Island Circus Side Show — in their company Oneofus’s production of Jeanne Marie Leprince de Beaumont’s “Beauty and the Beast,” December 1, 4, 8, 9, and 11 at Chicago’s Museum of Contemporary Art.)
NEW YORK — Sarah Michelson & Julie Atlas Muz fear nothing. To paraphrase the hot-button words they use to accompany “Blister Me,” neither the shallow nor the deep. They do not fear public scrutiny of their bodies; nor the failure of making perfect logic of an evening’s performance. Not getting right up into the audience’s face in a big primal scream, not even the smaller things, like slipping on a wet floor or landing from a fall onto a bare hipbone or spine. Nothing. The result is that “Blister Me,” their collaborative hour-long performance seen Friday at Dixon Place’s quirky theater at Vineyard 26, hits notes in every key and octave, high and low.
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