William Forsythe of the 80s and 90s seemed to pull apart the body and wreak havoc on the ballet stage, and at his age and in this time, he seems to seek a mellower pastel hue, an institutionalised order perfectly exemplified in the Paris Opera itself.
A party is a ritual. A gathering point around which new relationships might build or fall apart, when one might experience near-religious euphoria or deep existential angst.
Even as Körper’s stage imagery suggests that each body shares in its corporeality, its mortality — even as dancers entwine seamlessly — there are no slick answers for how we might return to the humane, to building connected, undivided communities.
Paris Opera Ballet presents The Seasons’ Canon by Crystal Pite at Esplanade – Theatres on the Bay 21-23 June.
Does it belong to Newton? Adam and Eve? Does Shiro Takatani want me to care?
Jerome Robbins was an immensely prolific artist of his times. His creative pursuit saw him performing and choreographing between the ballet world, Broadway, and the screen.