|News Feeds / Ballet 2 feeds|
Off Broadway Play ‘Let Me Down Easy’ Tackles Issues of Death by Gina Kolata, The New York Times, November 9, 2009 InfiniteBody http://infinitebody.blogspot.com
Researchers Explore Growing Ocean Garbage Patches by Lindsey Hoshaw, The New York Times, November 9, 2009 jill sigman/thinkdance's Our Lady of Detritus project Excerpts of performance at Solar One, Manhattan InfiniteBody http://infinitebody.blogspot.com
The fabulous Jason Samuels Smith--along with Ohad Naharin, Sara Rudner and Allegra Kent--will be picking up a Dance Magazine Award tonight. Make some noisssse! Check out "The Time Step with Jason Samuels Smith." InfiniteBody http://infinitebody.blogspot.com
Yasmin Levy--innovative singer of Sephardic culture's endangered language, Ladino--performed on Saturday evening at Symphony Space, presented by World Music Institute. Her show was perfection--from Levy's own romantic, dramatic elegance to the exhilarating lilt of her skillful band. If you enjoy fado or flamenco, you will find much to admire in her stylistic approach and musical arrangements. Go here to sample songs from her new CD, Sentir, and her most recent North American release, Mano Suave; and check the schedule of remaining tour dates (North America and France). Be sure to give yourself a generous gift and catch her next time. Interview with...
Mandela Endures as South Africa’s Ideal by Celia W. Dugger, The New York Times, November 9, 2009 InfiniteBody http://infinitebody.blogspot.com
Animal Planet: review of Amy Gerstler's 'Dearest Creature' by David Kirby, The New York Times, November 8, 2009 InfiniteBody http://infinitebody.blogspot.com
Claude Lévi-Strauss’s Two-Part Harmonies by Larry Rohter, The New York Times, November 8, 2009 InfiniteBody http://infinitebody.blogspot.com
Can Modern Dance Be Preserved? by Arthur Lubow, The New York Times, November 8, 2009 InfiniteBody http://infinitebody.blogspot.com
I hope Meg Stuart and Performa 09 will not mind my quoting a bit of the promotion for Auf den Tisch! (At the Table!) which I attended, last night, at the Baryshnikov Arts Center. It's really the best way to get the concept right: Picture this: you enter a room and can take a seat at an enormous table, with four microphones at the ready, as if in a conference situation. From your chair you can see how the table becomes a platform for action and reflection. Or something of the kind. You see performers sing, play, dance, and talk about performance issues, fragility, and territories. Or not. Meeting and improvising at an oversized table such as this one, it is no...