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2000 Stories by Deborah Jowitt

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  • The Feistiness of Form

    published June 6, 2000

    Rasputin, the "mad monk" who mesmerized Nicholas II of Russia and his wife and indirectly helped precipitate the Russian Revolution, was almost... More >>

  • Swanning Again

    published May 30, 2000

    Does anyone ever wonder how Swan Lake would progress if Prince Siegfried went right home from his revelatory lakeside experience and told... More >>

  • A Trick of the Light

    published May 23, 2000

    We're in the garage beneath Dance Theater Workshop, watching a wall of mirrors elevated like a movie screen. Reflected in that wall is a man... More >>

  • Eyes That Dance

    published May 16, 2000

    Much postmodern dancing traces its lineage to Steve Paxton, Trisha Brown, and Twyla Tharp. The physical languages they invented in the early 1970s... More >>

  • Jewel Boxes

    published May 9, 2000

    New York City Ballet's Diamond Project is named for generous patron Irene Diamond, but the title provokes expectations (which new work will turn... More >>

  • Four Journeys

    published May 2, 2000

    For The Amber Room, Zvi Gotheiner turns the stone basement of an 1849 synagogue (now the Angel Orensanz Foundation) into an art gallery.... More >>

  • Spring Bouquet

    published April 25, 2000

    This paper's late, beloved dance writer Burt Supree once wrote of David Neumann's performing, "You never know which way he's going to jump."... More >>

  • The Ways of Desire

    published April 18, 2000

    Jean-Philippe Rameau called his Platée a "ballet bouffon." It was surely the most deliberately ludicrous of the four musical... More >>

  • Vision-Shifts

    published April 11, 2000

    The Chuck Close portraits on display at Pace Wildenstein Soho are admirable accomplices to Jonathon Appels's choreography. Close's paintings of... More >>

  • Kill Mama

    published April 4, 2000

    I can only imagine how radical Boris Eifman's ballets must have appeared to Soviet audiences in 1977, when he established an independent company... More >>

  • New Storytelling

    published March 28, 2000

    Downtown performance has jolted the musician's image from both tuxedoed orchestral stability and the sweaty prancings of rock. In Yoshiko Chuma's... More >>

  • Variety Shows

    published March 21, 2000

    People have compared the Canadian Margie Gillis to Isadora Duncan. I can't see it. Gillis's early flower-child solos could evoke Duncan's... More >>

  • Lost in the Woods

    published March 14, 2000

    Postmodernism could be seen as trafficking in antiquities, and the kind of meddling archaeologists would frown on (fragments of a vase from... More >>

  • Variety as Spice

    published March 7, 2000

    Paul Taylor once said of a dancer he treasured that she had "the hips of an innocent satyress." I think he likes all his women to look that way.... More >>

  • Up, Up, and Away!

    published February 29, 2000

    Who but Annie-B Parson and Paul Lazar could combine elements of Mark Twain's story The Mysterious Stranger with transcripts from auditions... More >>

  • What Price Love?

    published February 22, 2000

    "When shall we learn what should be clear as day,/We cannot choose what we are free to love?" W.H. Auden's "Canzone" is not one of the poems that... More >>

  • Uncharted Terrain

    published February 15, 2000

    Molissa Fenley's solos often seem to be about terrain: its impact on her spirit, the impression she leaves upon it. Maybe this is because she not... More >>

  • Just Don't Stop

    published February 8, 2000

    "Don't Stop 'Til You Get Enough." That's what Ben Munisteri calls his program at P.S. 122. He has sage ideas about what "enough" is, seaming four... More >>

  • Tharp the Bold

    published February 1, 2000

    Nineteenth-century music critics vied with one another to attribute elaborate scenarios to Beethoven's Seventh Symphony. Wagner's response was... More >>

  • Read the Paper

    published January 25, 2000

    Three women in drab black dresses and utilitarian shoes stare at us from a bleak habitat. Two chairs. A window. A table. A radio. Half-packed... More >>

  • So Long, Logic

    published January 18, 2000

    "I liked the second ballet," the man behind me told his wife, "but I didn't understand it." The piece in question was Christian Spuck's Dos... More >>

  • Nothing Left to Lose

    published January 11, 2000

    In 1890s London, George Bernard Shaw's music reviews frequently took ballet to task. How weary he was of illogical plots and the empty virtuosity... More >>

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