A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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This performance of Alexander Whitley’s “Pattern Recognition,” which premiered at London’s Platform Theatre in April, was the kick-off to a five-leg autumn tour around the UK. The London-based choreographer has teamed up with digital designer Memo Akten to create a 50-minute contemporary work that uses motion-responsive technology to explore themes of consciousness, memory and fragmentation in the digital age. The technology comes in the form of eight chunky floor lamps that sense and track the dancers’ movements, responding with their own illuminated patterns. The lights, the programme makes clear, “are not pre-programmed but are driven only by the movement of the dancers.”
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Alexander Whitley and Natalie Allen in “Pattern Recognition” by Alexander Whitley. Photograph by Tristram Kenton
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
Continue ReadingEntering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
Continue ReadingIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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