A Vancouver performance of the fifth and final installment in Jérôme Bel’s series of talking dance portraits prompts some critical reflections on the choreographer’s Benjaminian excavation and Brechtian exposition of how the life of a Merce Cunningham dancer intersects with the larger institutionalized history of dance.

Issue Section:
Critical Acts
©2014 New York University and the Massachusetts Institute of Technology
2014
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