Thursday April 23, 2015
Friday March 27, 2015
Wednesday March 25, 2015
Wednesday March 25, 2015
Tuesday March 24, 2015
Saturday March 21, 2015
Monday March 09, 2015
A 3-year-old’s career choices are limitless. Each day they cycle through a new, exciting job, only to abandon it for an even cooler, more fantastic one the next morning. Toddlers spend entire days as astronauts, firemen, sheriffs and every other high-octane career they learned from their Saturday morning cartoons. When Laurel Lynch was 3, she wanted to be a dancer. Twenty-seven years later, she’s still living that dream.
Sunday March 08, 2015
Friday March 06, 2015
Thursday March 05, 2015
Sunday March 01, 2015
Saturday February 28, 2015
Thursday February 26, 2015
Monday February 23, 2015
Mark Morris Dance Group: L'Allegro, Il Penseroso ed il Moderato Set for THIRTEEN's Great Performances
Friday February 20, 2015
Put together, the words “dance” and “spring” may conjure a mental image of barefoot people with flowers in their hair holding hands and skipping in circles. You can find such people in Mark Morris’s 2013 “Spring, Spring, Spring,” which will have its New York debut during his company’s season at the Brooklyn Academy of Music (April 22 through 26). What you won’t find is the ritual sacrifice from the original scenario for this work’s score, Stravinsky’s “The Rite of Spring.”
Tuesday February 17, 2015
Mozart Dances reveals Mark Morris as the great magician of contemporary dance and its foremost optimist. In this seemingly carefree work he offers principles of profound beauty, not in a didactic way but with simplicity and grace.
Wednesday February 11, 2015
Monday February 09, 2015
Mark Morris is a household name among contemporary dance aficionados. A prolific choreographer, he established the Mark Morris Dance Group in 1980 and has created nearly 150 works for the New-York based company. Renowed for making dance that is popular with critics and the public alike, Morris' status is nothing short of legendary.
Saturday January 31, 2015
Thursday January 29, 2015
It’s time for a new kind of dance film, one that forces you to see the art form differently, that even makes you breathe a little differently. This season’s Dance on Camera festival, now in its 43rd year, presents several unconventional offerings that aim spotlights at the choreographic rigor of hand-clapping games and competitive cheerleading or reveal how Parkinson’s patients can dance with hypnotic purity.
Tuesday January 20, 2015
Saturday December 28, 2013
An essay by Sophia Preston
Just a few minutes into Mark Morris’s 1989 dance to Henry Purcell’s opera Dido and Aeneas it is clear that at least some of the movement “represents” the words of the libretto. Whether by looking apt (shaking hands in the air to “shake”), or through repetition (hands held out in an Indian dance mudra every time the word “fate” is heard), associations build up between gestures and words, creating a lexicon of gestural signs. This “re-presentation” of the libretto through gestures might be viewed as a redundant doubling of the words, but my contention is that, on the contrary, Morris exploits the transparency of this strategy to sophisticated and moving effect.
Friday January 27, 2012
Alastair Macaulay for The New York Times
Every so often someone declares ballet dead. The theater critic Kenneth Tynan even did so in the 1960s, a decade that many of us assume must have been a golden age. (The choreographer Frederick Ashton said, “It’s having the biggest funeral in history.”) In 2010 it was the turn of Jennifer Homans, the dance critic of The New Republic, in the epilogue of her ballet history, “Apollo’s Angels.” In 1993 — I’d better come clean — it was me.
Friday May 14, 2010
"Gloria" is only one of three Morris works coming to Seattle’s Paramount Theater May 21-23; but it is the one which you must see, whether you are a dance fan, a baroque music buff, a theater maven, or simply a person who has sometimes felt moving in the soul the feeling expressed by Dylan Thomas’s immortally longing Polly Garter in Under Milk Wood: “Oh, isn’t life a terrible thing, thank God?”
Friday November 24, 1995
All it took to condemn one of the greatest operas ever written to three centuries in shadows were a bare dozen words—“Perform'd at Mr. Josias Priest's Boarding-School at Chelsey. By Young Gentlewomen.”
And the worst of it? It wasn’t even true.
In fact Henry Purcell's Dido and Aeneas was probably written for performance before the King and Queen of England. But those words, at the head of the libretto published in 1689, have cast such a pall of dainty respectability, of amateur night shenanigans over the work that most listeners have neglected the evidence of their own ears. Dido has been mostly revived professionally when a mezzo-soprano combining musical insight with box-office clout—a Kirsten Flagstad, a Josephine Baker—has insisted on performing it. Paradoxically, Mark Morris's danced version of the piece has probably done more to establish Dido in the repertory than those artists did.