{"id":91,"date":"2019-10-08T19:00:08","date_gmt":"2019-10-08T19:00:08","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=91"},"modified":"2022-02-05T13:36:22","modified_gmt":"2022-02-05T13:36:22","slug":"age-on-stage","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/age-on-stage\/","title":{"rendered":"Age on Stage"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Nancy Westman<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<h5 class=\"wp-block-heading\" id=\"abstract\"><strong>Abstract<\/strong><\/h5>\n\n\n\n<p class=\"has-drop-cap abstract wp-block-paragraph\"><em>Age on Stage<\/em> started in Sweden in 2015, in order to allow mature professional dance artists to carry on their careers for as long as they wish. Charlotta \u00d6fverholm is the woman behind the project. She and <em>Age on Stage<\/em> are now joining forces, in Sweden as well as in other parts of the world, with dance artists sharing her credo: age is an asset, not a stumbling block, for dancers. The dance world as well as audiences around the globe are all winners because of this changing mindset.&nbsp;&nbsp; <br><strong>Keywords: <\/strong>Charlotta \u00d6fverholm<strong>, <\/strong><em>Age on Stage<\/em>, Mats Ek, Sonia York-Pryce, Cullberg Ballet<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When the project <em>Age on Stage <\/em>was launched in Stockholm\nin 2015, its focus and scope attracted much interest from the global dance\nfield. Started by Swedish dancer and choreographer Charlotta \u00d6fverholm, its aim\nwas to enable professional dancers over 45 to carry on their careers\u2014and\nencourage people over 65 to start dancing. The success of the project was\nimmediate and is continuing. Both in Sweden and on a wider international level,\nmature dancers are much more visible, talked about and popular than perhaps\never before.&nbsp; <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stockholm, August 22,\n2019:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cMore movement on the\nfloor\u201d\u2014Charlotta \u00d6fverholm keeps a sharp eye on the group of people huddled in\nfront of her. Only a couple of weeks remain before <em>Stories<\/em> will be presented at one of the most venerable arts\ninstitutions in Sweden, The Royal Dramatic Theatre, Dramaten, in Stockholm. In\n2016, these women and men had signed up for the first Age on Stage workshop for\npeople aged 65 and over. Most of them lacked experience as dancers. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At Dramaten, the\nevening starts off with a film, called <em>Just Dance<\/em>. It serves as an introduction\nto the performers, their reasons for joining this adventure, their gratitude to\nCharlotta \u00d6fverholm for her way of getting them together, helping them find a\nnew path in life. The film was made by Anders J Larsson, who followed them for\na year and a half, until their first performance at Dansens Hus 2018.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When we meet them\nagain, live on stage instead of on a screen, dressed in festive clothes, it is\nobvious that \u201cthe storytellers\u201d are now more accomplished and confident,\nseemingly at ease in their bodies\u2014and in their lives\u2014than when they first came\nto the workshop. At ages ranging from 68 to 87, they also appear to be younger\nand stronger than previously.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-1\"><strong>Video 1<\/strong><\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Charlotta &amp;Ouml;fverholm i Lucky\" src=\"https:\/\/player.vimeo.com\/video\/100643950?dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption> <em>Lucky<\/em>, Charlotta \u00d6fverholm <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Charlotta \u00d6fverholm\nchoreographed <em>Stories<\/em>, blending\nmovement with spoken testimonies from the performers. Physical limitations and\npsychological inhibitions may still be there\u2014if so, they are handled in an\nexpert way. The movements are not too demanding\u2014they are even basic\u2014but they\nwork well, finding space also for sensual tango and happy tap dancing. They can\nserve as illustrations to a particular story; sometimes, they are just\nexpressing joy at being alive, being able to move the way they do. A sense of\nsadness and loss, of happy memories and painful ones, forms part of the full\npicture. A drum here, a guitar there, and an accordion too, they all mix in\nwith solos, duets and bigger groups. The nature of human life, the way that\nbodies are harboring the young child as well as the mature person, is on show\nhere. <em>Stories <\/em>is a generous life\ncabaret.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" data-attachment-id=\"92\" data-permalink=\"https:\/\/www.critical-stages.org\/20\/age-on-stage\/image1-3\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-2.jpeg\" data-orig-size=\"800,533\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"image1\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Prosthesis with Charlotta \u00d6fverholm. Photo: Anders Larsson&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-2.jpeg\" src=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-2.jpeg\" alt=\"\" class=\"wp-image-92\" srcset=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-2.jpeg 800w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-2-300x200.jpeg 300w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-2-768x512.jpeg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption><em>Prosthesis <\/em>with Charlotta \u00d6fverholm. Photo: Anders Larsson<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">At the <em>Age on Stage<\/em> International Meeting Point\n2019 at Dansens Hus, \u201csubtitled\u201d <em>Gr\u00e4nsl\u00f6s\n<\/em>(Boundless), the programme started with a new piece, called <em>Prosthesis,<\/em> again by Charlotta\n\u00d6fverholm. The focus for this edition of the project was the physical side to\ndancers\u2019 ageing, including the pioneering medical and rehab expertise\ntherapists employed to enable Charlotta \u00d6fverholm to go on dancing. The title\nrefers to the hip and ankle replacements which are now parts of \u00d6fverholm\u2019s\nbody. On stage with her were Elena Fokina, Tobias Hallgren, Magnus Krepper,\nLauri Antila and James Friedman, as well as five performers over the age of 70.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"458\" data-attachment-id=\"93\" data-permalink=\"https:\/\/www.critical-stages.org\/20\/age-on-stage\/image2-3\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-2.jpeg\" data-orig-size=\"800,458\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1568634923&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"image2\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Charlotta \u00d6fverholm in Lucky. Photo: Anders Larsson&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-2.jpeg\" src=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-2.jpeg\" alt=\"\" class=\"wp-image-93\" srcset=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-2.jpeg 800w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-2-300x172.jpeg 300w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-2-768x440.jpeg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>Charlotta \u00d6fverholm in <em>Lucky<\/em>. Photo: Anders Larsson<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Prosthesis\n<\/em>was\nalso performed during the <em>Age on Stage<\/em>\nweekend at Dramaten, showing the scope of the project. The piece spans multiple\nmeanings; its \u201cboundlessness\u201d is quite overwhelming, and to decipher the piece\nis not an easy task. The stage is dimly lit: it seems to be a hotel lobby but\nwith a religious twist. A man checks in and learns that he can check out but\nnever leave. As the piece unfolds, it becomes a maze of happenings and moods\nthat change in the blink of an eye. The overall sensation is one of danger\u2014not\neven the crazy bacchanal at the end delivers comfort. However, the performers,\na mix of professional dancers and musicians and \u201cstorytellers\u201d of a certain\nage, seem totally comfortable in this dream play world where no boundaries\nexist. Is there a lesson to be learned in this?<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-2\"><strong>Video 2<\/strong><\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Prosthesis Trailer from performance\" src=\"https:\/\/player.vimeo.com\/video\/335491988?dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption><em>Prosthesis <\/em>was performed during the <em>Age on Stage<\/em> weekend at Dramaten, showing the scope of the project<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Recently, <em>Age on Stage<\/em> co-produced <em>Show to Be True <\/em>with Dance On Ensemble\nBerlin, first shown in Pite\u00e5 and Lule\u00e5, in the north of Sweden, in 2017, and\nthen at Holland Dance Festival and Festival Hebbel Am Ufer, Berlin. Charlotta\n\u00d6fverholm danced in that piece. Since the start of <em>Age on Stage,<\/em> most of her time has been dedicated to that project,\nbut \u00d6fverholm also performed in a dance theatre version of the iconic Ingmar\nBergman movie <em>The Seventh Seal,<\/em> in\n2018. Directors Hugo Hans\u00e9n and Fredrik Benke Rydman cast Charlotta \u00d6fverholm\nas Death in their production for Uppsala Stadsteater\u2014it turned out to be very\nsuccessful.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" data-attachment-id=\"94\" data-permalink=\"https:\/\/www.critical-stages.org\/20\/age-on-stage\/image3-3\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3-2.jpeg\" data-orig-size=\"800,533\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"image3\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Scene from Prosthesis. Photo: Anders Larsson&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3-2.jpeg\" src=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3-2.jpeg\" alt=\"\" class=\"wp-image-94\" srcset=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3-2.jpeg 800w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3-2-300x200.jpeg 300w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3-2-768x512.jpeg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>Scene from <em>Prosthesis<\/em>. Photo: Anders Larsson<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Charlotta \u00d6fverholm\nstudied dance at Balettakademien G\u00f6teborg and then went to the U.S., studying\nat Alvin Ailey American Dance Theater in New York, as well as at UCLA (in\nFilm\/Video) and at Lee Strasberg Theater Institute in Los Angeles. She has been\ndancing with Bill T. Jones and Complexions Contemporary Ballet in New York. In\nEurope, she has been part of DV8 Physical Theatre in London and created\nmemorable roles and new choreographies on dance stages in Paris, Prague,\nBerlin, Barcelona and other European cities. In Sweden, she has choreographed\ncommissioned works for G\u00f6teborgsOperans Dance Company, Norrdans, RTV Bor\u00e5s and\nFolkoperan. In all, she now has 30 productions in her portfolio, many of them\nunder the umbrella of her own production company, Jus de la Vie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Age\non Stage<\/em>\nstarted out primarily as a 20th anniversary celebration for Jus de la Vie. Her\nplan was to focus on mature professional dancers, to claim their right to\ncontinue dancing, even if their stipulated retirement age had passed. But her\nmission went beyond that: she wanted to show that dancers are no worse, but can\nin fact be better, when they are mature. Then, the celebration turned into\nsomething bigger\u2014<em>A<\/em><em>ge on Stage<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To make <em>Age on Stage<\/em> a viable project, it joined\nforces with a European Union project, <em>Dance on, Pass on, Dream on<\/em>, in\nGermany. A certain amount of social outreach was included in \u00d6fverholm\u2019s\nproject, plus input from the academic world, <em>et<\/em> <em>voil\u00e0<\/em>, <em>Age on\nStage<\/em> was born, \u201cpresenting maturity on stage, questioning the norms in the\ndance field through international productions with dancers over 45, workshops\nfor people over 65, films, festivals and seminars,\u201d as stated on their website\nat the time. It was co-funded by the Creative Europe programme of the European\nUnion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the time of <em>Age on Stage\u2019s<\/em> birth, Charlotta\n\u00d6fverholm\u2019s own 50th birthday was lurking around the corner. Many dancers look\nback on their previous stage careers at that age. She looked forward instead,\nand refused to stop dancing, in spite of her age, in spite of first a hip and\nthen a complete ankle replacement.&nbsp;\nAnother documentary by Anders J Larsson covers \u00d6fverholm\u2019s early start\nand ensuing career, injuries, wear and tear, healing processes and artistic\nexperiences. It has a very apt title, showing this artist\u2019s idea of what&nbsp; her life is about: Dance or Die.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-3\"><strong>Video 3<\/strong><\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Fucking Burn It Gala Age on Stage\" src=\"https:\/\/player.vimeo.com\/video\/185042848?dnt=1&amp;app_id=122963\" width=\"800\" height=\"422\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>The first edition of <em>Age on Stage<\/em> took place over ten days and had a provoking extra title: \u201cFucking Burn It!\u201d<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The first edition of <em>Age on Stage<\/em> took place over ten days\nand had a provoking extra title: \u201cFucking Burn It!\u201d It was held at Dansmuseum\nin Stockholm, in October 2015. Three dance pieces were performed, all showing\nvery clearly that maturity in a dancer is a plus. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of them, the duet\n<em>Antithesis,<\/em> was created in 2012 by\nDwight Rhoden, founder of Complexions Contemporary Ballet in New York. He made\nit for Charlotta \u00d6fverholm, then 47, and Jan-Erik Wikstr\u00f6m, principal dancer\nabout to retire at 43 from the Royal Ballet in Stockholm. Two dancers from,\nsupposedly, opposite sides of the dance field, turned out to be totally\ncompatible. The audience was sitting very closely around them at Dansmuseum. I\nhave rarely experienced that kind of electric atmosphere at a dance\nperformance. Rhoden knew what he was doing when he created the piece, taking\nthe two dancers&#8217; specific skills into account, allowing each of them to shine\u2014on\ntheir own and together.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00d6fverholm and\nWikstr\u00f6m briefly met again for <em>Age on\nStage<\/em> three years later. At the main performance of <em>Antithesis <\/em>at the relocated Dansmuseum, though, Dragos Milhacea,\nprincipal dancer at The Royal Ballet, was \u00d6fverholm\u2019s male counterpart. His\nprecise and powerful performance was excellent\u2014though he was actually too young\nfor the part, only 38 at that time. Pas de Deux Sans Toi (with Lindy Larsson\nand his accordion) and Lucky, both with Charlotta \u00d6fverholm at the centre, were\nalso on the programme. They all showed what an expressive, courageous,\nextraordinary dance artist and actress she is.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A seminar added\nanother kind of experience and knowledge, conveyed by people like Fay Nenander,\nSwedish-British dance consultant with a special focus on dance medicine,\ncollaborating with Balettakademien, DOCH and other dance institutions. She\ncalled it a waste not to take advantage of mature dancers\u2014and saluted a great\nexception to this mindset: Mats Ek and the many pieces he has created for\nbrilliant dancers past regular retiring age.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Paul Bronkhorst from\nOmscholingsingsregeling Dansers, Career Transition Program for Dancers in\nHolland, talked about how to cater for those unable to keep dancing. To be a\ndancer may be an identity, not just a profession, but dancers\u2019 careers are\noften too short. They often need help to find other careers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Madeline Ritter,\ndirector at Dance On, Pass on, Dream On in Germany, informed about their main\naim: to ensure that professional dancers past 40 years of age got first class\nchoreographies to work with if they chose to continue dancing. Ritter also\nintroduced the audience to the remarkable Eileen Kramer. At age 100, she\nappeared in a video from her native Australia where she has had a very long\ncareer in the dance field. In April 2019, Eileen Kramer took part in a\ntelevision talk show, telling about her brand new dance piece. Asked about\nwhether she was still dancing, at 104 +, she replied, \u201cWell, I have a little problem\nwith my balance \u2013 but I\u2019m working on that.\u201d<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-4\"><strong>Video 4<\/strong><\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Eileen Kramer dances\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/MlDOlVt-bRs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption> At the age of 99, Australian dancer Eileen Kramer improvises in remembrance of Gertrud Bodenwieser&#8217;s teachings. Filmed by Marion Ives at Rozelle School of Visual Arts, in April 2014. Music by J.S Bach <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Age\non Stage<\/em>\nhas changed the general view of mature dancers in many ways. In a sense, Sweden\nprovided fertile ground for this project. We have had some exceptional\nforerunners when it comes to old age in the dance field. Birgit Cullberg,\nfounder of the Cullberg Ballet in 1967, set an example: she created\nchoreographies and kept performing until late in life. She was 83 years old\nwhen her son, Mats Ek, created a TV piece directly for her, called <em>Gammal och D\u00f6rr<\/em> (<em>Old and Door<\/em>). It\nwas produced for Swedish Television in 1991, but, for various reasons, it took\nuntil 2013 before it went public. Attitudes towards age on stage appear to have\nchanged somewhat by that point.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Even so, in 2015,\nMats Ek announced his retirement from the world of dance. No new pieces were to\nbe created, none of his works would be produced anywhere in the world.\nInternational media picked up on this, deploring his decision. He was 70 years\nold and had already proven his excellence as a choreographer, not least for\nmature dancers: for Mikhail Baryshnikov and Ana Laguna he created <em>Place<\/em>, in 2007; two years later, <em>The\nOther<\/em> for Baryshnikov and Niklas Ek; in 2010, he did <em>Bye<\/em> for Sylvie Guillem; <em>Ax <\/em>(2015)\nwas made for Ana Laguna and Yvan Auzely; and <em>Potato<\/em> for Ana Laguna and Mats Ek himself. Small wonder then, if he\nfelt a bit tired? And yet, he was on stage the following year, at Sk\u00e5nes\nDansteater, to dance with his wife and muse, Ana Laguna, who, by the way, is\nten years younger than her husband. But that was an exception.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It took until the\nmiddle of summer 2019 before Mats Ek was back again, now in grand style with a\nnew and highly praised <em>Bol\u00e9ro<\/em>, plus the new piece <em>Another Place<\/em>, for the Paris Opera. His brother Niklas Ek performed\nin <em>Bol\u00e9ro<\/em>\u2014a truly mature dancer at\n76.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-5\"><strong>Video 5<\/strong><\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Staatstheater N\u00fcrnberg Ballett: A sort of...Bolero\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/5UUGkfYAgXg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption> Mats Ek\u2019s <em>Bol\u00e9ro<\/em> <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">A new choreography\nfor The Royal Ballet in Stockholm, the first one since his lovely <em>Juliet and Romeo<\/em> in 2013, will have its\npremi\u00e8re in February 2020. Mats Ek turns 75 that year. His <em>Woman and Water<\/em> will share the evening with two other mature\ncontemporary dance icons, Ji\u0159\u00ed Kyli\u00e1n and Ohad Naharin, What a treat!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 2017, <em>Age on Stage<\/em>\/<em>Survival Kit<\/em> took place at Dansens Hus and consisted of two duets,\nwith Charlotta \u00d6fverholm and Rafi Sady. <em>Light\nHouse<\/em> by Sharon Fridman and <em>Beauty\nand the Beast <\/em>by Martin Harriague got rave reviews in the main newspapers\nin Sweden: \u201cCharlotta \u00d6fverholm and Rafi Sady meet in two different duets\nhighlighting their specific and versatile expressions. <em>Age on Stage<\/em> is a renaissance for mature dancers,\u201d wrote Svenska\nDagbladet. While Dagens Nyheter commented, \u201c<em>Survival\nKit<\/em> is a perfectly composed duo of duets with two exquisite full-blooded\ndancers, who take on the stage with half a life\u2019s natural authority and sublime\nsimplicity.\u201d <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Internationally, <em>Survival Kit<\/em> has been equally well\nreceived.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"532\" data-attachment-id=\"95\" data-permalink=\"https:\/\/www.critical-stages.org\/20\/age-on-stage\/image4-3\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image4.png\" data-orig-size=\"800,532\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"image4\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;\u201cSurvival Kit is a perfectly composed duo of duets with two exquisite full-blooded dancers, who take on the stage with half a life\u2019s natural authority and sublime simplicity,\u201d Dagens Nyheter, at https:\/\/jusdelavie.se\/survival-kit\/&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image4.png\" src=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image4.png\" alt=\"\" class=\"wp-image-95\" srcset=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image4.png 800w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image4-300x200.png 300w, https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image4-768x511.png 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>\u201c<em>Survival Kit<\/em> is a perfectly composed duo of duets with two exquisite full-blooded dancers, who take on the stage with half a life\u2019s natural authority and sublime simplicity,\u201d Dagens Nyheter, at <a rel=\"noreferrer noopener\" aria-label=\"https:\/\/jusdelavie.se\/survival-kit\/ (opens in a new tab)\" href=\"https:\/\/jusdelavie.se\/survival-kit\/\" target=\"_blank\">https:\/\/jusdelavie.se\/survival-kit\/<\/a><\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Other examples of\nchanging attitudes in the Swedish dance world were noted when the Cullberg\ncompany (now without the \u201cBallet\u201d part in its name) announced their\ncollaboration with three house choreographers for the next three years. No\nnegative reactions were heard about Deborah Hay being one of them. Hay was born\nin 1941 (in New York) and her latest piece for the company (then still called\nCullberg Ballet) was <em>Figure a Sea<\/em>, in 2015. It has since toured around\nthe world. In October 2019, two older pieces by Deborah Hay, <em>The Match<\/em> and <em>The Man Who Grew Common in Wisdom<\/em>, were performed by Cullberg\ndancers. Two new choreographies are to be created by Hay for Cullberg.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-6\"><strong>Video 6<\/strong><\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Figure a Sea - Deborah Hay &amp; Laurie Anderson\/Cullberg Ballet\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/30PdvE9Jysc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption> <em>Figure a Sea<\/em>, Deborah Hay and Laurie Anderson\/Cullberg Ballet<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In 2018, the\nStockholm-based Weld company invited another iconic artist, Yvonne Rainer, to\nwork with them, giving a lecture and creating a new piece for the company.\nRainer was born in 1934 (in San Francisco; she moved to New York City in 1956).\nMargaret Jenkins, San Francisco based choreographer, has been performing in\nStockholm and several other Swedish cities twice lately, in 2016 and 2018.\nJenkins was born 1942. Age has not been an issue for any of them\u2014it is easy\nenough to see that maturity informs their oeuvre. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sonia York-Pryce, who started her dance career in London, has closely followed the <em>Age on Stage<\/em> project, which shares many aims and intentions with her own recent work. After migrating from her native England to Australia, she turned to the academic world, studied applied arts, film and photography. All her skills have gone into her PhD research at Queensland College of Art\/Griffith University. The title of her dissertation is <em>Ageism and the Mature Dancer\/Inappropriate Behaviour<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her research is\nbasically done: it includes interviews as well as films delving deeper into the\nminds of nine mature dancers. The future of her dissertation has yet to be\nsettled. She plans to make a book based on her thesis and judging by a recent\ne-mail conversation, her fighting spirit is unscathed: \u201cI will continue being\nan advocate for older dancers, through dance films, conferences and the written\nword.\u201d <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Scanning the Internet\nfor this article, I have come across several projects around the world intended\nto change the views when it comes to dance and mature dancers. It raises hopes\nfor the future. Carolyn Carlson, Wendy Whelan, Alessandra Ferri, Carmen de\nLavallade are all mature dance artists still active as either dancers or\nchoreographers in the Western part of the world. In the Eastern part, there are\nso many more to get to know.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Age\non Stage<\/em>\nhas been followed by two Swedish researchers, Ninnie Andersson and Cecilia Ferm\nAlmqvist. At the beginning, they were funded by Lule\u00e5 University of Technology;\nlater on, by two other Swedish universities. Their research is not yet\nconcluded.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Age\non Stage<\/em>\nappears to be a project with no end in sight. During the fall season 2019, <em>Age on Stage<\/em> and Charlotta \u00d6fverholm had\na busy schedule, going to New York City for workshops at Peridance and for the\nscreening of Anders J Larssons\u2019s Dance or Die, as well as showing the one woman\nshow <em>Lucky<\/em>. Another Workshop 65+ at Dansens Hus, classes and a repertory\nworkshop for professional dancers, at the same venue, were set to be her last\nengagements in 2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For 2020, a new\nedition of <em>Age on Stage<\/em> plus a new\n\u00d6fverholm piece are in the pipeline. When she heard that other, more mature,\ndance artists would be included in this article\u2014showing that the stage is still\nopen for professionals past 70 in the dance field and hinting at the\npossibility for her to be continuing for at least 20 more years\u2014her comment\nwas: \u201cWonderful.\u201d<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"for-further-information\"><strong>For\nfurther information:<\/strong><\/h6>\n\n\n\n<p class=\"wp-block-paragraph\">Links to <em>Age on Stage<\/em> videos and more: <a href=\"https:\/\/jusdelavie.se\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"see here (opens in a new tab)\">see here<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ageism and the Mature Dancer\/Inappropriate Behaviour: <a href=\"https:\/\/www.soniayork-pryce.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"see here (opens in a new tab)\">see here<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Age on Stage<\/em>\/<em>Stories<\/em>: <a href=\"http:\/\/www.ijea.org\/v20n12\/index.html\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"see here (opens in a new tab)\">see here<\/a><a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<img decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image6-150x150.jpeg\" alt=\"\" alignnone=\"\"><br>&nbsp;\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end\" href=\"#back\">*<\/a><strong>Nancy Westman<\/strong> is an arts journalist, with a focus on dance and the visual arts. She has a background in Swedish Public Radio and Swedish Public Television, Danstidningen and several other printed publications. Since 2019, she is a contributor to <em>tanz, Zeitschrift f\u00fcr ballet, tanz und performance<\/em>. Westman is the author of several books, on dance, architecture, theatre and other arts related topics. She served as Cultural Counselor at the Embassy of Sweden in Washington, DC, 1999-2003. A new career as translator of both fiction and non-fiction started at her return to Sweden. At the top of the list of her translations, she puts the last four novels published in Swedish, by world-renowned author Philip Roth. Westman now lives and works in Stockholm.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2019 Nancy Westman<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":92,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[8],"tags":[13],"class_list":["post-91","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-topic","tag-st-front"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image1-2.jpeg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":221,"url":"https:\/\/www.critical-stages.org\/20\/dance-and-age\/","url_meta":{"origin":91,"position":0},"title":"Dance and Age","author":"Nancy Westman","date":"October 21, 2019","format":false,"excerpt":"Margareta S\u00f6renson* Abstract Dancers \u201cdie\u201d young. This is what most people think, and if the reference is classical ballet, it might be the case. Yet, the examples of Ohno, Manning, Ek, Fonteyn, Bausch show quite the opposite:\u00a0that there is still life for a dancer who is no longer young. This\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/featured.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/featured.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/featured.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/featured.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":517,"url":"https:\/\/www.critical-stages.org\/20\/creating-dance-with-elders-and-how-to-see-it-company-of-elders-in-the-festival-of-world\/","url_meta":{"origin":91,"position":1},"title":"Creating Dance with Elders, and How to See It: Company of Elders in the World Gold Theatre Festival","author":"Nancy Westman","date":"December 3, 2019","format":false,"excerpt":"Katsuhiko Sakaguchi* Abstract The Company of Elders, produced by Sadler\u2019s Wells Theatre (U.K.), was invited by Saitama Arts Theatre (Japan) in 2018 as a model for dance companies which feature elderly performers. The article discusses how the triple bill by the company strived to explore the possibilities of creating dance\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":756,"url":"https:\/\/www.critical-stages.org\/20\/a-note-from-the-guest-editors\/","url_meta":{"origin":91,"position":2},"title":"A Note from the Guest Editors","author":"Nancy Westman","date":"December 4, 2019","format":false,"excerpt":"Manabu Noda* and Yun Cheol Kim** The world is ageing\u2212and fast. According to the United Nations, already one in eleven of the world population is over 65, and by 2050 the rate will be one in six. The 65+ age band outnumbered children under five years of age for the\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/Manabu_Noda2-140x150.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":277,"url":"https:\/\/www.critical-stages.org\/20\/movement-through-language-a-reflection-on-the-use-of-spoken-text-in-dance-performances\/","url_meta":{"origin":91,"position":3},"title":"Movement through Language:  A Reflection on the Use of Spoken Text in Dance Performances","author":"Nancy Westman","date":"October 19, 2019","format":false,"excerpt":"Rosa Lambert* Abstract Today, the Belgian dance scene features many international choreographers whose works explore how spoken text can contribute to the creation of dance. As a consequence, their works reveal the interconnections and affiliations between language and movement. In this essay, Rosa Lambert examines two solo performances by Mette\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/20\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":225,"url":"https:\/\/www.critical-stages.org\/20\/age-and-politics-in-early-american-drama\/","url_meta":{"origin":91,"position":4},"title":"Age and Politics in Early American Drama","author":"Nancy Westman","date":"October 21, 2019","format":false,"excerpt":"Zoe Detsi* Abstract This paper seeks to explore how age as a determining category of identity was represented on the American stage in the years following the American Revolution. By bringing early American drama\u2014a field largely neglected in itself\u2014into the discussion of performance and age studies, this paper examines age\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":113,"url":"https:\/\/www.critical-stages.org\/20\/to-become-merged-in-the-sea-or-on-old-women-on-stage\/","url_meta":{"origin":91,"position":5},"title":"To Become Merged in the Sea . . . or On Old Women on Stage","author":"Nancy Westman","date":"October 11, 2019","format":false,"excerpt":"Soila Lehtonen* Abstract Portrayals of old people on stage can be surprisingly stereotyped and dated. At what age does one become \u201cold\u201d nowadays? Does ageing increase wisdom or fear of death? The Swedish sociologist Lars Tornstam coined the term \u201cgerotranscendence\u201d: old age is \u201ca natural progression towards maturation and wisdom.\u201d\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-3.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/91","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/comments?post=91"}],"version-history":[{"count":8,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/91\/revisions"}],"predecessor-version":[{"id":1217,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/91\/revisions\/1217"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media\/92"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=91"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/categories?post=91"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/tags?post=91"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}