offoffoff dance



Site links
  • Contact us

    Get our newsletter:
    Search the site:

    Dance section
  • Dance main page
  • Dance archive

    Current dance

  • 277DanceProject: This is Heaven to Me
  • A.W.A.R.D. Stars
  • Aaron McGloin: Lamina
  • Aaron McGloin: Native
  • Akiko Furukawa: Room 702
  • Alley of the Dolls [this is not a Sequel]
  • Anchors and Ties
  • Antonio Ramos: Almodovar Dystopia
  • Aretha Aoki and Benjamin Kimitch
  • BAADass Women Festival
  • Banana Peel Dance: Dinner Party
  • The Barnard Project 2010
  • Batsheva: Hora
  • Belinda McGuire
  • Bennyroyce Royon: Chronos Project
  • Bloom: City
  • Body Collider: Bare Knuckle High Fashion
  • Brian Brooks
  • Brian Brooks Moving Company 2012
  • Bryn Cohn: Skin
  • Burr Johnson
  • Chavasse Dance and Performance
  • Chris Schlichting: Stripetease
  • ChristinaNoel and the Creature
  • Chunky Move: Faker
  • Chunky Move: Mortal Engine
  • Cool NY 2011
  • Cool NY 2012
  • Current Sessions: 03Savings
  • The Current Sessions: Volume 1
  • Da-on Dance: Thirst
  • Dance Apocalypse: Solos
  • Dance Gallery 2013
  • Dance Gallery 2015
  • Dance Gallery Festival
  • Dance Gallery Festival 2012
  • Dance Now 2015
  • Dance Now 2019
  • Dance Sampler 2
  • DanceNow 2011
  • DanceNow 2011 Two
  • Dancenow 2012
  • DanceNow 2013
  • DanceNow 2014
  • DanceNow 2016
  • DanceNow 2017
  • DanceNow 2018
  • Daniel Gwirtzman: The Oracle
  • DaOn Dance: Root
  • David Appel and Daniela Hoff: Take Root
  • The Dinner Party: A Whodunnit Cabaret
  • Donnell Oakley Magnificent Marginal
  • Donnell Oakley: Sure
  • DorothyAnnieMaria
  • Doug Varone and Dancers 2017
  • Dumbo Dance 2010
  • Dumbo Dance 2011
  • Dumbo Dance Festival 2012
  • Faye Driscoll: Thank You for Coming
  • Faye Driscoll: There is so much mad in me
  • Faye Driscoll: You r Me
  • Festival Twenty Ten
  • Festival Twenty Ten Too
  • FLICfest 2012
  • FLICfest 2013
  • Fresh Tracks 2010
  • Fresh Tracks 2011
  • Gallim: Sit, Kneel, Stand
  • Gerald Casel: Fluster and Plot
  • Gotham Dance Sampler 1
  • Green Space:
    Take Root

  • Gwen Gussman: Nourishment
  • HATCHed WAX: two to view
  • Heather Olson: Shy Showoff
  • Hilary Easton: The Constructors
  • Hurricane Party
  • Hyperbolic!
  • Jeanine Durning: To Being
  • Jenni Hong:
  • Jody Oberfelder: The Soldier's Tale
  • John Jasperse: Canyon
  • Jonah Bokaer: Rules of the Game
  • Jonathan Pratt
  • Julian Barnett: Sound Memory
  • Julie Bour: Why Now?
  • Katie Workum: Black Lakes
  • Katie Workum: Fruitlands
  • Katie Workum: Herkimer Diamonds
  • Katy Orthwein and Aaron McGloin
  • Keigwin and Wolcott: Places Please
  • Keigwin+Company 2012
  • kerPlunk and Friends
  • Kidd Pivot: Dark Matters
  • Kota Yamazaki: Rays of Space
  • Kyle Abraham: Heartbreaks and Homies
  • Larry Keigwin: Exit
  • Lincoln Center Kenan Fellows
  • lmno3:BANGS
  • Lucy Guerin: Structure and Sadness
  • Lucy Guerin: Untrained
  • Magda and Chelsea: The Vulgar Early Works
  • Mari Meade and Companies
  • Mari Meade and Gierre Godley
  • Mari Meade and Teresa Fellion
  • Mari Meade: Not My Home
  • Mark Dendy: Labyrinth
  • Mark Dendy: NYny Astor Place
  • martha clarke: angel reapers
  • Martha Graham Company 2016
  • The Median Movement: JACK Rally
  • The Median Movement: X
  • Mei Yamanaka Works: Sunflower
  • Merce Cunningham
  • Miguel Gutierrez: And lose the name of action
  • Mina Nishimura
  • MokdessiWagner and Kawamura
  • Nathan Trice: Recognizing Women Project
  • Neta Dance: 2280 Pints!
  • newsteps 2013
  • newsteps 2014
  • Newsteps 2017
  • Newsteps 2018
  • newsteps 2019
  • Nicole Wolcott: 100 Beginnings
  • Nicole Wolcott: Paper Pieces
  • NLD: The Whiz
  • Only Human: Christine Bonansea
  • Ori Flomin: First Move
  • Oui Danse: French Amour
  • Patricia Noworol Dance: Circuits
  • Perforations Festival
  • Performance Mix 2013
  • Performance Mix 2017
  • Performance Mix Festival 2010
  • Performance Mix Festival 2018
  • Petronio 2012
  • Petronio: Underland
  • Pina Bausch: Vollmond
  • ponydance: Anybody Waitin?
  • The Principles of Uncertainty
  • Project RUIN
  • Purchase Company 2013
  • Ralph Lemon: How Can You Stay in the House All Day and Not Go Anywhere?
  • Raw Directions 2012
  • Raw Directions 2013
  • Relative Soul: Two Takes
  • Richard Move: Martha 1963
  • RoseAnne Spradlin: beginning of something
  • Sam Kim: Sister to a Fiend
  • Sarah Skaggs Dance: The New Ecstatic
  • Sarah Skaggs: Roving 911 Memorial
  • Shamel Pitts: Black Velvet
  • Shannon Gillen & Guests: Clap for the Wolfman
  • Shannon Gillen: A Colored Image of the Sun
  • Shen Wei Dance Arts
  • small apple co.
  • Splice: Japan
  • Stephen Petronio 2014
  • Stephen Petronio 2015
  • Stephen Petronio 2016
  • Stephen Petronio: LLD 430
  • Strange Love: Episode 5
  • Take Dance
  • Take Root: Angharad Davies and Amber Sloan
  • Take Root: Mei Yamanaka and Angel Chinn
  • Tere OConnor: Bleed
  • TheCraft
  • This One Goes Out To You
  • Tiffany Mills Company
  • Tiffany Mills: After the Feast
  • Tiffany Mills: The Blue Room
  • Triskelion Collaborations
  • Two at Abrons
  • Two at Dixon Place
  • Tykulsker Cora
  • tykulskerdean
  • Valerie Green/Dance Entropy
  • Valerie Green: Impermanent Landscape
  • Vim Vigor: Forever
  • Walter Dundervill: Candy Mountain
  • Wave Rising 2011
  • William Forsythe at BAM
  • William Forsythe: Decreation
  • Women in Motion 2012
  • Wrought Iron Fog
  • Yoshiko Chuma and Rebecca Lazier
  • Zvidance: Dabke+Coupling
  • ZviDance: Zoom


    Complete archive, 1999-present

    2018-2019 reviews:


    The Room As It Was in Ballett Frankfurt
    The Room As It Was

    Very good at using it

    Ballett Frankfurt brings its procedural queries and astoundingly capable set of bodies to BAM.


    Ballett Frankfurt came to The Brooklyn Academy of Music last week for what is likely its final New York concert with a program deeply inscrutable and heady. The four works, "The Room As It Was," "Duo," "N.N.N.N." and "One Flat Thing, reproduced," showcased without grandeur or urgency the kind of hypertextual Heideggarian universe that artistic director William Forsythe and his company have developed. Codes, processes, translations and deployment — they had the collective hum of a human super computer.

    Choreography by: William Forsythe.
    Dancers: Cyril Baldy, Allison Brown, Francesca Caroti, Dana Casperson, Jodie Gates, Amancio Gonzalez, Ayman Harper, Demond Hart, Jill Johnson, Brock Labrenz, Prue Lang, Vanessa Le Mat, Jone San Martin, Stephen Galloway, Fabrice Mazliah, Amy Raymond, Georg Reischl, Antony Rizzi, Christopher Roman, Richard Siegal, Ander Zabala,.
    Music by: Thom Willems.

    Related links: Official site
    My first engagement in watching each piece is an effort to decode. What goes on in their minds? The dances are clearly improvised to some extent, either in their origin or in performance- sometimes it is hard to tell. Response figures heavily- performers responding to each others' cues alter the course of many of the dances. The material we see comes from a pre-ordered set of movement sequences and translation parameters. Though self-possessed and individual, their responses don't offer up idiosyncrasy, personality, nervous system quirks, Rather, they're working on the task at hand. Solving for Z when X=N.

    This produces something intensely stimulating for anyone interested in compositional possibilities. It's hard not to engage in this decoding, to attempt to glean strategies, tips for breaking open ones own endeavors. But what happens if you don't decode? You find yourself observing a set of inscrutable, humming things of particular dimensions, particular speeds. "Inscrutable Humming Thing" is actually my current favored description of a certain kind of dance. These are IHTs par excellance. I think its in the hum that the beauty lies.

    Duo in Ballett Frankfurt  
    The great benefit of the opera house context (usually in the US there would be only dance practitioners forming the audience for dance this deeply engaged in compositional queries and process) is that the majority of the audience isn't handicapped with the ability (if not the instinct) to decode — at least not back to the original terms of material, not being equipped with anatomical expertise or a technicians acute perception of movement. What gets seen, through these outside eyes, is at least a few steps removed from the origins. Translated.

    The work is not particularly performative in the traditional sense. I get the impression that it would be fulfilled in a room by itself, with no need of the audience. In this context, the tree falling in the middle of the forest has most definitely made a sound. Here the proof of existence is not the provenance of the observer.

      Here the proof of existence is not the provenance of the observer.
    But if Forsythe is engaged conceptually in translations, then the translation to audience, that great passing hermeneutical enterprise of performance, is surely of interest. He must have a Buddhist-like unattachment to the conclusions drawn. This is not a guided communication. It demands nothing of me. But also it demands everything of me. If I'm to take anything away from this event, it is up to me to delineate that experience.

    My experience, thus stripped of analysis, was a white-space high-speed hum. A combination of watching fast new trains, dogs wrestling, time-elapse puzzle game solving, staring at a soft-white box with an incandescent light, listening to tongue twisters or maybe an Oulipo sonnet, elaborate domino toppling and some more white box.

    More concrete, here are some of the things I saw:

    "The Room As It Was." Begins with amazing softness. Quiet feet. Slowly we begin to hear their breath, which is both a score and an internal cueing system. The movement is so intricate that it's hard to track. Every possibility of the jointed body is exploited. They play with bringing parts of a remembered choreography to the room as it is now. It is between them. At the end, a curtain which contains their dancing area raises up. Suddenly there is space, not just memory.

    One Flat Thing, reproduced in Ballett Frankfurt  
    One Flat Thing, reproduced
    "Duo." A fugue. Oblique program notes refer to the two women as a clock. Apparently they have been thinking about time. They execute more incredible material. This dance has a rhythm of image return, stopping, frontality, illustration plates. There is music, there are costumes (the rest of the evening is performed in spruced-up rehearsal clothes), but these theatrical elements aren't allowed to provide a dreamy distance. The light is fluorescent. Again the space is limited to the extreme downstage. The music is mixed to sound as if it is coming from offstage somewhere. If you are to be seduced into this dance, enveloped by it, it will come only from your attention to the activities of the two extraordinary dancers.

    "N.N.N.N." Four men. An evolving intricacy. Little urgency, casual virtuosity. Secret kung-fu timing.

    "One Flat Thing, reproduced." The piece begins and the performers drag a stage full of tables out. They proceed to use the surfaces and corridors thus created as a high speed playground. They play off of each other. They cue each other visually. Things are attacked. Thom Willems, the composer, makes an electronic gale. Possibilities are multiplied by the extra horizontal solid plane at hip-level. They're very good at using it.

    OCTOBER 7, 2003

    Reader comments on Ballett Frankfurt:

  • Jodie Gates   from Lycinda Masterson, Mar 22, 2005
  • In search of Steven Galloway   from Michelle Bennett, Sep 23, 2008

  • Post a comment on "Ballett Frankfurt"