Jan Fabre's Mount Olympus pushes dancers to their limits. Photo by Wonge Bergmann, via nyuskirball.org
When Jan Fabre's troupe Troubleyn presents his Mount Olympus: To glorify the cult of tragedy(a 24 hour performance) at NYU Skirball tomorrow it does so under a heavy cloud of controversy.
Fabre is a celebrated Belgian multidisciplinary artist who has been honored as Grand Officer in the Order of the Crown, one of the country's highest honors. His visual art has been displayed at the Louvre and at the Hermitage in St. Petersburg. According to The New York Times, his dance company, Troubleyn, receives about $1 million a year from the Belgian government.
Many of the dancers of 10000 Gestures weren't wearing much clothing when they started climbing on audience members. Photo by Ursula Kaufmann via nyuskirball.org
Some of my favorite experiences as both an audience member and a dancer have involved audience participation. Artists who cleverly use participatory moments can make bold statements about the boundaries between performer and spectator, onstage and off. And the challenge to be more than a passive viewer can redefine an audience's relationship to what they're watching. But all the experiences I've loved have had something in common: They've given audiences a choice.
A few weeks back, I had a starkly different experience—one that has caused me to think deeply about how consent should play into audience-performer relationships.
Bill T. Jones' Ambros: The Emigrant. PC Paul B. Goode
Bill T. Jones is one of the few choreographers who can weave together social consciousness with choreographic inventiveness. This is visible in all three parts of his Analogy Trilogy, a 6½-hour marathon that comes to NYU Skirball Center on Sept. 22 and 23.
In this Trilogy, Jones goes beyond his own cultural identity. The first part, Dora: Tramontane, centers on Dora Amelan, a Holocaust survivor who tried to help children during World War II. Her ordeal is told through interviews spoken by the dancers and envisioned in shifting scenes. The second part, Lance: Pretty aka the Escape Artist, is about Jones' nephew, and his involvement in the underground world of drugs and sex in New York in the 80s. This section contains several gorgeously choreographed duets. The third part, Ambros: The Emigrant, is not about a real person but about the nature of trauma and memory.
Pina Bausch's The Rite of Spring. Photo by Oliver Look, Courtesy Brooklyn Academy of Music.
On the cusp of a new performance season, our calendars are chock full with shows we're dying to see. But it can be hard to know where to start with a season filled to bursting with promising premieres, tours and revivals. We've picked 12 shows that should definitely be on your radar.