Boris Charmatz, a favorite choreographer in France for his dancing in museums, has come up with an idea for non-stop dance. In his new piece, 10000 Gestures, each action is different—no repeats. This week, a horde of more than 20 dancers invades New York City's NYU Skirball Center, each of them cramming a thousand gestures into one hour. They seem to be exorcising them—shaking, scratching, jabbing, huddling—as though they can't get rid of them fast enough.
Meg Stuart's Until Our Hearts Stop. Photo by Iris Janke, Courtesy Helene Davis Public Relations
American choreographer Meg Stuart, who is based in Brussels and Berlin, brings her wildly unpredictable choreography to the Skirball Center. For this production, Until Our Hearts Stop (2015), the international cast of six dancers and three musicians aims to recapture a sense of free play. But Stuart's version of "play" contains as much struggle and strangeness as delight. The dancers in her company, Damaged Goods, get tangled in a physical intimacy that can be either sensitive or bizarre. May 4–5. nyuskirball.org.