by Ann-Marie Wrange*, Vivre Sutinen is now working on her third season as artistic director of the Tanz Im August Festival, Berlin’s annual presentation of tendencies in modern dance and performance. Sutinen’s aim is not only to present aficionados of
By Mark Brown* The most critically acclaimed production of the 2015 Edinburgh International Festival was the revolutionary monodrama The Encounter by English actor and theatre-maker Simon McBurney and his London-based theatre company Complicite. The piece overturns many of the common
Quittant la maison, le dortoir, la certitude, La chute, Après l’ascension, Est programmée. Différence de régime, Changement d’air, Dégringolade, Abîme. Patrice Pavis* Je suis de nouveau en Corée, j’enseigne et je vis dans la Korea National University of the Arts.
By Halima Tahan Ferreira* The Argentinian choreographer Edgardo Mercado has been carrying out his intense activity both locally and internationally. His style is defined by its openness to other disciplines, by its readiness to explore and investigate other fields, such
Yi-Joung Noh* Recently on the Korean contemporary dance scene, we can find productions that have significant elements derived from traditional Korean shaman culture. Representative cases would be Princess Bari-The Life, a dance theatre piece choreographed by Eun-Me Ahn that premiered
By Margareta Sörenson* Τilde Björfors is the woman who brought cirque nouveau (new circus) to Sweden in 1995. Two decades later, this particular hybrid art form (which combines circus disciplines, dance, mime, music and lyric theatre) is well established in
Par Octavian Saiu* Gigi Căciuleanu est un danseur, un chorégraphe… un artiste. Les influences peuvent remonter, dans son cas, aux autres maîtres de la danse ou à de grands artistes visuels, de grands écrivains, mais aucune n’arrive à l’expliquer entièrement.
An Ιntroduction to the Special Dance Issue Margareta Sörenson* Throughout the history of mankind on earth, performing has been meant for the gods. When it later developed into what we call the performing arts, dance, music, myths, stories and images
Freddy Decreus* Jan Fabre, Mount Olympus: To Glorify the Cult of Tragedy. A 24-Hour Performance. Directed by Jan Fabre. A Troubleyn Production. Theaterfestival, Antwerp, Belgium 27/08/2016. Jan Fabre’s 24-hour performance Mount Olympus is, in my opinion, one of the most
Arnold Benjamin Udoka* Introduction In the ancient African world, dances were shared knowledge between the community and the individual. In the colonial and post colonial Africa, phenomenal changes have affected the management of these dances and their migration from ordained