Sao Paulo Dance Company: Goecke, Binyamini, Céspedes
In Marco Goecke’s Le Chant du Rossignol, the dancers, all terrifically sharp, precise, appear from and disappear back into a deep, abyss-like upstage blackness.
In Marco Goecke’s Le Chant du Rossignol, the dancers, all terrifically sharp, precise, appear from and disappear back into a deep, abyss-like upstage blackness.
I can safely say that I have never felt a swan’s breath on the back of my neck. Until now. Because that’s precisely what happened during Act Two…
‘Crash: reassembled’ by Astrid Boons, a reworking of her 2020 piece, and ‘IT’S NIGHT AGAIN’, a new work by Italian choreographer duo Panzetti/Ticconi
The six works on this year’s tour certainly live up the requirement to be “original, imaginative, unique and… display unusual achievement.”
Leïla Ka’s choreography is sharply incisive and precise, requires great core strength and physicality, but also leaves plenty of space for vulnerability
“A triple-bill that’s classy and classic… Perspectives really is a cracking evening. Maybe too much of a good thing is sometimes not a bad thing at all.”
Eyal’s Into the Hairy for her company, S-E-D, depicts a strange world, one whose inhabitants are disconcertingly humanoid, but not quite human
A super programme, the highlight being the return of Jo Strømgren’s The Exhibition, a tale of the accidental meeting of two people in a gallery
The whole work is a feast of mobile bodies, the inventive movement sometimes jagged and sharp, sometimes wonderfully fluid.
Amina Khayyam looks at how women impose thoughts of what is ‘correct’ on other women and perpetuate patriarchal cultural expectations
Dada Masilo’s Salomé lasts just thirty minutes but everything is here… Desire, power and passion are everywhere. The stage is full of sexual tension.