Gauthier Dance in Akram Khan’s Turning of Bones
A tale of love and violence, of belonging to or being expelled, of life and death, all taking place in the liminal space between reality, dream, memory…
Germany
Bayerisches Staatsballett in Neumeier’s Illusionen – wie Schwanensee
A coming together of Swan Lake and the ill-fated King Ludwig II of Bavaria, a troubled dreamer renowned for building castles and his homosexuality
Staging Béjart’s iconic Bolero
Ahead of performances by the Bayerisches Staatsballett in Munich, Piotr Nardelli talks about staging the work, and why it is still such a success.
La Sylphide with the Bayerisches Staatsballett
Keller not only looks like an incarnation of the sylphs in the engravings of the ballet from the Romantic era, she also fills her creature with life
Gauthier Dance Juniors: Dream Team
All six dancers appeared in all four pieces, performing with class, commitment and bags of energy. Best, though was the way all connected with the audience
A Symbiosis of Dance and Music: Listen! by Ceren Oran
As musicians and dancers shared the stage, the music seemed to be bound together by moving bodies, which again were bound through the music
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.
Theater Pforzheim: Swan Lake
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…
One evening, two worlds: Dance x 2 by Dance Theater Heidelberg
‘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 scene of tomorrow: International Solo Dance Theater Festival Stuttgart winners on tour
The six works on this year’s tour certainly live up the requirement to be “original, imaginative, unique and… display unusual achievement.”
Compagnie Leïla Ka: Triptyque
Leïla Ka’s choreography is sharply incisive and precise, requires great core strength and physicality, but also leaves plenty of space for vulnerability