It's our bright and hazy fortune to be living in an age in which each day presents some new means of communicating with one another. So why does life itself come to feel ever more atomized, more suffocating, more confusing and lonely? Can it really be true that no man is poor who has Friendster?
Remote, the latest multimedia performance piece from partners Sara Kraft and Ed Purver, explores this distance, this ambivalence inside our desire to connect with one another amid proliferating technologies of communication and control. Read more »
Moving the WestWave Dance Festival (called Summerfest/dance until two years ago and now in its 15th year) to the Project Artaud Theater was a smart idea. Even though the cavernous former warehouse dwarfs some of the smaller companies using the space, Artaud lays out an altogether funky welcome mat, squeaky stairs included.
Due to philosophical and financial considerations, WestWave has always focused on up-and-coming choreographers. Read more »
Are you a good dwarf or a bad dwarf? In the storied production history of The Wizard of Oz, there were notoriously (and no doubt, apocryphally) so few of the former that Glinda-like attempts at taxonomy seem pointless. They were all bad, or at least naughty, as dwarves have historically seemed in the popular imagination. Read more »
PREVIEW Dance on film looks flat, distorted, and without nuances, right? Yes and no. In general, dance does not take kindly to the screen. Good enough for documenting or teaching, films simply don't convey the effervescent presence of a live performance. But in some cases the medium goes beyond simply recording and actually partners with the choreography in a way that can be every bit as exciting as a live performance. As a genre, dance films are fairly new and, often, still don't get no respect. Read more »
Youthful innocence and stupidity can generally be relied on in making soldiers and war; those lacking such qualities may have to be beaten and intimidated into service. The process inspires some vivid imagery in French playwright Fabrice Melquiot's The Devil on All Sides (Le Diable en Partage), a poetical mix of fantasy and harsh reality set amid the 1992–95 Bosnian war. Read more »