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Spread the word
Feature | By Megan Bridge & Peter Price | April 12, 2013Megan Bridge and Peter Price continue their conversation about Susan Rethorst’s 208 East Broadway.
My Spot in the Studio
Feature | By Anna Drozdowski | March 16, 2013What bubbled up as Behold Bold took shape.
Boards, Geometry, Choreography
Feature | By Gregory Holt | March 16, 2013As part of the Day of Dance we played with an interactive installation Boards, where long wooden planks disrupt a projection of a still figure aimed at a flat wall.
Setting aside the ego..."How To Get Started."
Feature | By Peter Price | February 20, 2013Throwing out what he had intended to present, Cage collaborated with Skywalker’s sound engineers in a kind of structured improvisation. First he ordered ten topics randomly. Then he extemporized on the first topic while the engineers recorded his voice. Turning to the second topic, the recording of the first was played back and this mix of two voices was recorded, to be played back with Cage’s third extemporization and so forth resulting by the final topic in a polyphony of ten voices on ten topics.
The Self Zooms Through: Susan Rethorst’s Art & the Body’s Mind
Feature | By Claudia La Rocco | February 18, 2013
The thinking body: you see it in every moment of a Susan Rethorst dance. It’s astounding, really: how the smallest glance or gesture can come so laden with aliveness—with knowledge that can only be accessed in the body, and which exists prior to conceptual "invention."
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.