Posted by: trailerpilot | 05:05::2012

The Moving Architects: “SECTOR” | Review

The Moving Architects SECTOR photo Andrew Roddewig

Angela Luem, left, and Laura Vinci de Vanegas of the Moving Architects in “SECTOR”
Photo: Andrew Roddewig

Five brief poems of dance for strong women combine in “SECTOR” to provide a map, more or less, of Erin Carlisle Norton’s approach to composition. Like Max (2007) doesn’t show Ohad Naharin’s hand with theatrical spectacle, “SECTOR” won’t clue you into what Norton can do site-specifically. Its five scenes were born separately over the last couple of years, Norton explained after the performance; “SECTOR” is indeed more work-in-series than an evening-length in five parts.

The score is likewise a mixtape, but a good one: Three tracks from percussionist Frank Rosaly’s excellent Milkwork (2010) open the show and meter a portmanteau of Norton’s March of the Oys and Burnshine called, simply, Rosaly. Cellist Hildur Guðnadóttir and sound artist Ryoji Ikeda alternate for the rest of the soundtrack. Transitions are slickly matter-of-fact; after Rosaly ended, dancer Bettina Vaccarello followed three latecomers into the theater, peeled away and began dancing her solo, Verse.

Read More…

Posted by: trailerpilot | 04:09::2012

Linkage | April 1–8, 2012

Recently Found Among Digital Notes to Self

David Lynch’s “Crazy Clown Time”

The Stage’s survey of fallout triggered by Arts Council England cuts

Education Week’s rundown of the effects of a newly implemented federal requirement for calculating high-school graduation rates

Roberta Smith’s exasperated response to Morley Safer’s exasperated response to Art Basel Miami Beach

Phil Rosenthal’s look at the state of Groupon

Jeff Ruby’s Nutraloaf taste test

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Posted by: trailerpilot | 03:31::2012

Linkage | March 18–31, 2012

No, you didn’t miss anything—there was no Linkage post last weekend. And although this one represents a full two weeks’ worth of internetting, much of what I sent myself within that span is now stale. Still fresh enough, in my opinion, for consumption today are the following items, listed by date of birth.

March 18: The New York Police Department issued a press release in response to “the critics” and an unspecified editorial in The New York Times.

March 19: Constance Hale discussed “the sentence as a miniature narrative” at The Opinionator.

Read More…

Jérôme Bel  Shirtology 1997 © Jérôme Bel | photo Herman Sorgeloos

Jérôme Bel, Shirtology. © 1997 Jérôme Bel. Photo: Herman Sorgeloos

When it comes to performance, it can seem as if the classical arts get all of the live-broadcast love. Tickets to Bolshoi ballets and Met operas can be had nearly as easily these days as entry to matinée screenings of The Hunger Games. Tuning into the contemporary outside of your own ZIP code? That tends to require more initiative.

The Tate in London offers a rebuttal beginning tomorrow, when its “Performance Room” series opens a four-year focus on “performance, interdisciplinary art and curating digital space.” Kathy Noble and Catherine Wood are the forces behind the program, called BMW Tate Live, followable late-monthlyish via Facebook, YouTube, and on Twitter using the hashtag #BMWTateLive.

French choreographer Jérôme Bel is first up on March 22, riffing on his 1997 work Shirtology within the parameters of the Room. Subsequent BTLers confirmed to date include Pablo Bronstein (April 26), Emily Roysdon (May 31) and Harrell Fletcher (June 28).

Each event goes down at 20:00 GMT (2pm CST). Get involved, lest the 19th century get all the fun in the 21st.

Posted by: trailerpilot | 03:17::2012

Linkage | March 12–17, 2012

March 16, 2012: Daiseyaster Strikes

Shit met fan on Friday, when a tense episode of This American Life and advance press release revealed that key details about The Agony and the Ecstasy of Steve Jobs were fabricated by its author-performer, Mike Daisey. Amongst the wreckage is a canceled April 7 performance of the consumer-electronics industry exposé / embellished monologue in Chicago.

Predictably, this most SEO scandal of all time—which erupted almost simultaneously with sales of Apple’s new iPad—triggered a frenzy that functioned as a kind of straw poll on ethics, standards and best practices in journalism.

Tweeted Anne Elizabeth Moore, no stranger to performance created to comment on overseas mass-manufacturing methods: “And now I’m unfollowing journalists who claim that there’s a natural, just divide between journalism and entertainment #knowyourhistory”. She added later, “Daisey just made it harder for those of us who do creative journalism.”

Tweeted Claudia La Rocco: “Using a source to fact-check that source is like using a word to define that word.”

Tweeted Patrick Thornton: “If you ever say to yourself, ‘maybe we shouldn’t run this story,’ you shouldn’t run it. Not when it involves sourcing.”

Chicago Tribune theater critic Chris Jones’s response states that artists “make things up in service of their broader point. Their subjective broader point. That’s why ‘This American Life’ made a mistake in airing Daisey’s monologue as fact. And it’s why Daisey made a mistake in accepting the offer.”

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Posted by: trailerpilot | 03:12::2012

Linkage | March 4–11, 2012

Notes to Self: Choice Internet and the Tweets of the Week

On Tuesday, @roslynsulcas shared her Times review of “Present/s,” a festival of new works for the Dutch National Ballet. The lineup “made clear [that William] Forsythe’s style and aesthetic dominate a new generation of choreographers, much as Balanchine dominated a previous one,” she wrote. “Isn’t deconstructive wordplay passé?” she asked.

The day before, Sulcas profiled the new artistic director of Nederlands Dans Theater, Paul Lightfoot. On NDT’s announcement in September 2011 that he would succeed Jim Vincent in the role, Lightfoot told Sulcas, “I think the board [of NDT] came to a decision that it would be good to have a choreographer leading the company again.” As Vincent is also a choreographer, I’d say that qualifies as a burn.

@JudithFlanders reviewed NDT’s junior company for the arts desk on Wednesday. Lise Smith reviewed it for Londonist.

Elaine Coorens reviewed NON GRATA’s Force Majeure for Our Urban Times. She confused the Metra with the El but got most of the rest of it right. I was there taking photos and shooting videos with my phone; here’s my interview with NON GRATA’s Al Paldrok for Time Out Chicago.

@PiaCatton was “pleasantly surprised” by anti–Cindy Sherman emails provoked by her Wall Street Journal piece about the artist.

@dancingtimes published Monday an in-depth look at eating disorders in ballet in which dancer health specialist Nick Allen is quoted saying, “Nobody has ever done a proper incidence or prevalence study with dancers and eating disorders.” Can this be? Read More…

Posted by: trailerpilot | 03:03::2012

Linkage | February 26–March 3, 2012

Two yes votes to continue, with no one dissenting, on my last Linkage post. Looks like this thing will be a thing, at least for as long as I do the thing.

Select Internet of the Week

It was a good week for dancing mayors. Boston Ballet received props from Thomas M. Menino, whose office of arts, tourism and special events waived theater rental fees for two free performances by both of the company’s ensembles, plus students, on March 23. Hubbard Street Dance Chicago announced that its 35th-anniversary season kickoff will be dedicated to Mayor Rahm Emanuel. Boris Johnson, Mayor of London, said he hopes that a May 18 kickoff for Big Dance 2012, choreographed by Wayne McGregor and possibly the next Biggest Simultaneous Dance Ever, inspires kids worldwide to participate in the arts long after the Olympic Games are over.

It was a good week for headaches at local universities. More than 125 top faculty members at the University of Illinois signed off on a vote of no confidence in school president Michael Hogan sent to U of I trustees. Hogan “lacks the values, commitments, management style, ethics, and even manners, needed to lead this University,” the letter stated (via @ColonelTribune). Protesting tuition hikes up for a board of trustees vote today, DePaul University students staged a sit-in dubbed #OccupyDePaul that began Thursday. Here’s a Storify from The DePaulia. Developing.

“We are so busy doing things with the work,” wrote C.S. Lewis in An Experiment in Criticism (1961), “that we give it too little chance to work on us. Thus increasingly we meet only ourselves.” It’s an important thought that music critic John Ephland includes at the end of his post for the NEA’s blog from last August, “Why We Still Need Professional Arts Critics,” which I’d missed until Tuesday. Via @magickaleva, who also shared a link to this gem from Charles M. Blow: “Rick Santorum wants to bring sexy back…to the 1950s.”

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Posted by: trailerpilot | 02:26::2012

Linkage | February 20–25, 2012

Haymarket Opera Orphee photo Wendy Benner

Haymarket Opera Company performs “La Descente D’Orphée aux Enfers” in a dress rehearsal at Mayne Stage. Photo by Wendy Benner Photography.

The week of January 30 brought a bumper crop of good internet to my inbox. Here we are again; looks like “Linkage” could become a semi-regular thing. (Decidedly, passionately for or against the idea? Let me know in the comments.)

Select Internet I Emailed to Myself Between February 20 and February 25, 2012

Via @Chi_Humanities, I read John von Rhein’s Tribune review of Haymarket Opera Company’s La Descente d’Orphée aux Enfers. I saw the production on February 24 and can confirm it was très charmant indeed. Here’s my interview with Carlos Fittante, who created and performed its Baroque-dance prelude.

Chicagoans have known and loved the work of Darrell Jones for a while. Claudia La Rocco caught his Hoo-Ha on Thursday at Danspace Project’s “Parallels” and asked, “Where have you been all my life?” Here’s my review of the piece from last fall’s Other Dance Festival. Read More…

Posted by: trailerpilot | 02:04::2012

Linkage | January 30–February 3, 2012

It’s Saturday morning, which means that I have one empty email inbox and another filled mostly with messages from myself. Most of these have either the subject line “Tweet forwarded by @trailerpilot,” which are shares from my phone’s TweetDeck app; or are in an ongoing, very long thread titled “Linkage” which, as you might guess, contains links.

This Saturday’s harvest is particularly robust and, in lieu of flooding Twitter or Facebook with its crop, here we are at Ye Olde Trailerpilot Dot Com.

Select Internet I Emailed to Myself Between January 30 and February 3, 2012

@DanceUK shared this dedicated page on Göteborgsoperan’s website for Sasha Waltz’s noBody, premiering on February 25.

This BuzzFeed post about Nancy Upton, who punk’d an American Apparel model search.

Via @theballetbag, I read Ismene Brown on Cojocaru and Rojo in Ashton and MacMillan. Read More…

Posted by: trailerpilot | 09:10::2011

“We need Russians.”

So I’m an armchair tech geek and, when I can, listen to the This is my next podcast at the end of each week. Most of the interim site’s team—they’re soon launching its replacement, The Verge, in partnership with SB Nation—defected in April from tech blog Engadget. (Read David Carr’s rundown for The New York Times here.)

Last week, toward the end of episode 22, Paul Miller, Vlad Savov, Joanna Stern and Joshua Topolsky found themselves here after talking about wireless carriers (I don’t have any comments or responses, it just struck me as a super-Zeitgeisty exchange worth sharing):

VS: We want the benefits of a monopoly, one network spread across the entire country, but we don’t want one company to be in charge of it. If it’s not going to be one company, one carrier, it basically has to be the government. There’s no other option, [no other] choice.

JT: What about a supercompany? Like a really, really big company.

VS: You [American] guys are all really afraid of your government and at the same time, you’ve all benefited from government initiatives to a great degree, which you don’t really appreciate. One quick example being the lunar landing, right?

JS: Oh, God.

PM: You can’t…we cannot go down this…

JT: No, I like it. Vlad, I’d like to hear your perspective as a sophisticated and advanced European. I love it.

VS: Seriously: The lunar landing was the result of vast amounts of government investment, and it was to compete with the Russians.

JT: You know what we need? We need Russians. Read More…

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