Monday April 22, 2013
Joan Acocella for The New Yorker
One thing that Mark Morris knows how to do is to create an ambiguity that feels like clarity. Often in his work, a person, after doing something that you think you understand, does something that utterly contradicts that. Or he goes on doing his thing, but someone at the side of the stage does something altogether different. It’s not that Morris’s work is hard. He just doesn’t like to give everything away at the start.