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Wrecking: Material and Process
Post | By Megan Bridge | February 13, 2013
Sitting in the room while other artists muddle freely in one’s creations must be a completely liberating experience.
Behold Bold Sam Dog Stats
Post | By Gabrielle Revlock | February 12, 2013Behold Bold by the numbers.
Postcards from a dance
Feature | By Gregory Holt | February 12, 2013
Sometimes the dance becomes more than itself, not because it means anything or represents anything, but because it can give an experience of the connections between different kinds of awareness.
Dance 10, Looks 3?
Feature | By Anna Drozdowski | February 12, 2013At the Susan Rethorst audition my neighbor confesses:“I don’t know much about her, except what I saw on Google last night. How has she flown under the radar for so long?”
Feature | By Anna Drozdowski | January 28, 2013
I don’t think Rethorst’s intention is to site dance as a normal everyday affair, though she has consistently shown the ways I’ve been overlooking the dance that can be found in the simple clarity of attention to form.
Behold Bold sounds like...
Post | By Anna Drozdowski | January 28, 2013In the studio with Susan, Eun Jung, Bronwen and Gabrielle for a few afternoon hours, Anna had movement and sound on the brain.
Post | By Christina Gesualdi | January 23, 2013Other Voices, with two neuroscientists and a quantum chemist, was a reminder that both dancemaking and science move forward by jostling and dislodging fixed ideas.
208 East Broadway: a conversation brewing at thefidget space
Feature | By Megan Bridge & Peter Price | January 20, 2013Susan Rethorst's 208 East Broadway came out of a need to work in her home, to have the ease and comfort of playing...to lazily roam through movement possibilities. Megan Bridge, dancing in the current iteration of 208, and Peter Price comment on the dance being made (in part) in their home.