this week in dance

LIVE ARTERY

Juliana F. May / MAYDANCE will present GUTTER GATE during Live Artery festival at New York Live Arts

New York Live Arts
219 West 19th St. between Seventh & Eighth Aves.
January 6-8, advance reservations required
212-691-6500
www.newyorklivearts.org

In conjunction with this week’s APAP/NYC 2012 Conference, New York Live Arts is hosting “Live Artery,” an exciting series of performances consisting of previously featured pieces and works in progress. Taking place January 6-8 in the David R. White Studio, Jerome Robbins Studio, and Bessie Schönberg Theater, the mini-festival includes Juliana F. May / MAYDANCE’s Gutter Gate, Jodi Melnick’s Solo, Deluxe version, Reggie Wilson’s theREVISITATION, Yasuko Yokoshi’s Bell,, David Neumann’s Restless Eye,, Levi Gonzalez’s intimacy, and Bill T. Jones / Arnie Zane Dance Company presenting excerpts from Story/Time, Body Against the Body, and D-Man in the Waters. During the weekend, the Live Lounge in the lobby will offer complimentary wine and snacks, free WiFi, and a place for performers, presenters, fans, and others to congregate.

Update: First presented at Dance Theater Workshop in February 2011, Juliana F. May / MAYDANCE’s Gutter Gate made an extremely welcome return January 6-7 to the space, now known as New York Live Arts, as part of the annual APAP/NYC Conference. With the audience sitting in a single row of folding chairs on three sides of the stage, Ben Asriel, Madeline Best, Anna Carapetyan, Eleanor Smith, and Maggie Thom emerge in the center with chairs of their own, Joan Baez’s rollicking country cover of Bob Dylan’s “Simple Twist of Fate” playing on the soundtrack, begining a thrilling sixty minutes of abstract movement inspired by Aristotle’s theories of causality and necessity. The dancers remove the chairs and run around the floor individually and in unison, removing parts of their clothing as they stop, pause, approach the audience, break off into pairs, put their clothing back on, then take it off again. Soon they are making guttural sounds that threaten to cross the line into questionable performance art but always manage to stay on track as the dancers’ communicate with one another and the audience via different forms of verbal and physical language, including flopping breasts and penis and Thom’s darting eyes, which perform a dance all their own. The movements are beautiful, devolving into ever-more elemental gestures, coinciding with Chris Seeds’s electronic score, which eventually fades into silence.

AMERICAN REALNESS

After delighting audiences at BAM, John Jasperse’s CANYON will celebrate the thrill of the dance at Abrons Arts Center (photo by Tony Orrico)

Abrons Arts Center, Henry Street Settlement
466 Grand St. at Pitt St.
January 5-15, Show & Tell free, other performances $15
212-352-3101
www.abronsartscenter.org

No, it’s not yet another reality show. “American Realness” is an eleven-day live performance festival that offers fans of contemporary dance, music, and theater an opportunity to catch productions they might have missed as well as the chance to see works in progress scheduled to debut later this year. Held at Abrons Arts Center in conjunction with the Association of Performing Arts Presenter’s Conference, “American Realness” features second looks at such 2011 works as John Jasperse’s Canyon, which celebrates the thrill of the dance while ostensibly being about nothing; Wally Cardona and Jennifer Lacey’s Tool Is Loot, the result of a yearlong investigation into collaboration; Jack Ferver and Michelle Mola’s Me, Michelle, about ego and power in the form of Cleopatra; and Eleanor Bauer’s (Big Girls Do Big Things), a solo in which Bauer goes through a series of metamorphoses. The festival also includes the New York premiere of Laura Arrington’s Hot Wings, which examines feminine identity; the U.S. premiere of Daniel Linehan’s Montage for Three, in which two dancers re-create images from found photographs; Trajal Harrell’s Antigone Jr., the next stage of his “Twenty Looks or Paris Is Burning at the Judson Church”; and the pairing of Ishmael Houston-Jones’s mean Cait: a fairytale in progress and Yvonne Meier’s Mad Heidi. The free “Show & Tell” section (advance RSVP required) includes such conversations as “Why a dramaturge?” with Reggie Wilson and Susan Manning and “Surfacing & Song-Based Performance” with Holcombe Waller, Cynthia Hopkins, and Miguel Gutierrez in addition to sneak peeks at such works in progress as Big Dance Theater’s Ich, KürbisGeist, Luciana Achugar’s FEELingpleasuresatisfactioncelebrationholyFORM, and Keith Hennessy’s Turbulence (a dance about the economy).

TAKES

TAKES takes audiences on a unique journey of sound, vision, and movement

3LD Art and Technology Center
80 Greenwich St. at Rector St.
January 5-8, $10
866-811-4111
www.nicholecanusodance.org
www.3ldnyc.org

Choreographer Nichole Canuso of Nichole Canuso Dance Company, Early Morning Opera founding artistic director Lars Jan, and Pig Iron Theatre Company cofounder and co-artistic director Dito van Reigersberg have joined forces for the real-time multimedia movement installation TAKES. Set in a black box surrounded on all four sides by a lightweight transparent scrim on which are projected live and recorded performances, TAKES uses the idea of cinematic takes as it explores a relationship that usually, in real life, does not necessarily get do-overs until things are perfect. The piece will be performed by Canuso and van Reigersberg, with an original score by Michael Kiley from the Mural and the Mint, video by Pablo N. Molina, and costumes and sets by Maiko Matsushima. There will be two performances a day January 5-8 at 3LD Art and Technology Center, with audiences encouraged to walk around the projection box and experience TAKES from different angles and perspectives. In addition, visitors are invited to enter the installation and make their own dance for free on January 7 from 2:30 to 6:30.

PINA

PINA is a 3-D celebration of seminal choreographer Pina Bausch and Tanztheater Wuppertal

PINA: DANCE, DANCE, OTHERWISE WE ARE LOST (Wim Wenders, 2011)
BAM Rose Cinemas, 30 Lafayette Ave. between Ashland Pl. & St. Felix St., through January 5, 718-636-4100, $15
IFC Center, 323 Sixth Ave. at West Third St., extended run, 212-924-7771, $17.50
www.sundanceselects.com

Back in 2004, in reviewing Pina Bausch’s Fur Die Kinder von Gesern, Heute und Morgen (For the Children of Yesterday, Today, and Tomorrow) at BAM, we wrote, “You don’t have to be a dance fan to love the always engaging Pina Bausch.” The same holds true for Wim Wenders’s loving 3-D documentary, Pina. The longtime director of Tanztheater Wuppertal, German choreographer Bausch created uniquely entertaining pieces for more than thirty years, combining a playful visual language with a ribald sense of humor, cutting-edge staging, diverse music, and a stellar cast of men and women of varying ages and body sizes, resulting in a new kind of dance theater. A friend of hers for more than twenty years, Wenders (Wings of Desire, Paris, Texas) was collaborating with Bausch on a film when she suddenly died of cancer in 2009 at the age of sixty-eight, two days before rehearsal shooting was to begin. Wenders decided to proceed, making a film for Pina instead of with her. Using the latest 3-D technology, including a specially developed camera rig mounted on a crane, Wenders invites audiences onstage as he captures thrilling, intimate performances of several of Bausch’s seminal works, 1975’s Le Sacre du printemps, 1978’s Café Müller, 1978 and 2000’s Kontakthof (Contact Zone), 2002’s Fur Die Kinder, and 2006’s Vollmond (Full Moon), which were selected by Bausch and Wenders together. The dancers seem to be more motivated than ever, reveling in Bausch’s building, repetitive vocabulary of movement and discussing how she inspired them with just a few words. As a bonus, Wenders includes footage of Bausch dancing Café Müller. Some members of the company also dance personal memories on the streets, in a factory, and aboard a monorail in and around Wuppertal. Pina is not a biopic; Wenders does not delve into Bausch’s personal life or have random talking heads discuss her contribution to the world. Instead, he focuses on how she used movement to celebrate humanity and get the most out of the men, women, and children who worked with her. In the September 2009 memorial ceremony held for Bausch at the Wuppertal Opera House, Wenders said, “I would like to ask all of you, finally, to cherish this treasure of Pina’s gaze. . . . appreciating that you knew Pina, that we all knew her gaze and were fortunate enough to experience such a priceless gift.” With Pina, Wenders has given us a beautiful gift, a wonderful tribute to his great friend. Pina is screening through January 10 at the IFC Center [ed. note: It continues to be extended there and is still running as of mid-June] and January 12 at BAM, where Tanztheater Wuppertal regularly performed since 1984, including most of the pieces featured in the film. Wenders will be appearing at a handful of screenings at IFC on January 6-7 and BAM on January 8 for intros, a book signing, and Q&As.

COIL 2012

Performance Space 122 and other venues
150 First Ave. at Ninth St.
January 5-29, $20-$30 per performance, $75 passport for five shows, $100 for ten
www.ps122.org

“Fully realized, but on the bleeding front edge” is how P.S. 122 artistic director Vallejo Gartner describes the seventh annual Coil festival of experimental theater and dance, taking place January 5-29 at such venues as the Public Theater, the Baryshnikov Arts Center, the Connelly Theater, the Invisible Dog Art Center, the Old School, and Performance Space 122. Lin Hixson and Matthew Goulish of Every House Has a Door combine Dusan Makavejev, Stanley Cavell, and Ingmar Bergman in Let us think of these things always. Let us speak of them never. Lebanese actor, writer, and director Rabih Mroué will present a pair of politically charged multimedia solo narratives, Looking for a Missing Employee and The Pixelated Revolution. Heather Kravas examines idealized feminine beauty in The Green Surround. Mariano Pensotti’s tragicomic El pasado es un animal grotesco (The past is a grotesque animal), which is also part of the Under the Radar festival, uses a revolving stage and a song by Of Montreal to look at the lives of four Argentinians. Audience members do not have to sit quietly in their seats as Michael Kliën with Steve Valk delves into “the absence of certainty” and other philosophies in Choreography for Blackboards. David Levine expresses his Anger at the Movies, complete with audience involvement, in a theatrical seminar based on YouTube clips sent to him. Temporary Distortion re-creates scenes from television and movie cop dramas and real-life situations in Newyorkland. Young Jean Lee’s Theater Company brings together people from theater, cabaret, dance, and burlesque for a provocative examination of identity in Untitled Feminist Show. And on January 8, Bobby Hernreich will host the annual Red & White Party, featuring Jack Ferver, DJ Spooky, Ping-Pong (Thing Thong), prizes, and more at SPiN New York.

UNDER THE RADAR

Judith Malina of the Living Theatre and Silvia Calderoni of Motus collaborate on THE PLOT IS THE REVOLUTION, a special Under the Radar presentation on January 9 at La MaMa (photo by End & Dna)

The Public Theater and other venues
425 Lafayette St. between East Fourth St. & Astor Pl.
January 4-15, free-$25
212-967-7555
www.undertheradarfestival.com

The eighth annual Under the Radar: A Festival Tracking New Theater from Around the World offers another diverse collection of live performances that provide a welcome alternative to conventional theater. Running January 4-15, this year’s fest includes such promising productions as Hideki Noda’s The Bee, an English-language drama at Japan Society about a horrible surprise waiting for a businessman upon returning home from the office; Bambï & Waterwell’s Goodbar, a live concept album reimagining of Looking for Mr. Goodbar, at the Public Theater; Suli Holum & Deborah Stein’s Chimera, about a woman who is her own twin, at HERE; and Stefan Zeromski Theatre’s unique musical take on Bernard-Marie Koltès’s In the Solitude of Cotton Fields, set to live Polish punk rock, at La MaMa. The Public will also be home to the LuEsther Lounge, presenting free live music throughout the festival. Among the other free events are the installation Gob Squad Resource Room at the Goethe-Institut’s Wyoming Building (the Gob Squad Arts Collective will also be presenting the interactive Super Night Shot at the Public); Camille O’Sullivan’s Feel, in which the Irish singer will play a different character for songs by Jacquel Brel, Nick Cave, Tom Waits, David Bowie, and others, at the Public; and the panel discussion “Performance and Context: The Black Box and the White Cube,” January 8 at 1:00 at the Public. In addition, a post-show discussion will follow the January 7 performance of Motus’s Alexis. A Greek Tragedy at La MaMa, a preshow talk will precede the January 8 performance of the Living Word Project’s Word Becomes Flesh at the Public, a panel will follow the January 11 performance of biriken & Ayça Damgaci’s Lick But Don’t Swallow! at La MaMa, chelfitsch’s Toshiki Okada (Hot Pepper, Air Conditioner, and the Farewell Speech) will lead a workshop for theater and dance professionals on January 14 at 1:00 at Japan Society, and “Everyone’s a Critic! Exploring the Changing Landscape of Arts Writing” will take place January 15 at 1:00 at the LuEsther Lounge. As always, Under the Radar offers adventurous theatergoers a chance to see a bunch of very different works, from an excellent selection of international companies.

MOMIX: BOTANICA

MOMIX’s BOTANICA is back at the Joyce for the holiday season

Joyce Theater
175 Eighth Ave. at 19th St.
Through December 31, $10-$59
212-645-2904
www.joyce.org
www.mosespendleton.com

For the third consecutive year, MOMIX is back at the Joyce with Botanica, an eco-friendly multimedia exploration of the four seasons, with the company’s talented cast taking on the roles of flora and fauna, ocean waves, trees, rocks, birds, hornets, a storm, and just about everything else under the sun — well, actually, including the sun. The inventive group, headed by artistic director and founder Moses Pendleton, creates pieces that range from the awe-inspiring to the gimmicky, constantly surprising audiences with amazing uses of light, sound, costumes, props, and the human body. Botanica proceeds through a cycle that that is divided into “Opus Cactus,” “Baseball,” “Passion,” “Lunar Sea,” “reMix,” and “Botanica” and features music by Peter Gabriel, Antonio Vivaldi, and birds.