New York City is considered an international dance hub for two reasons: many famous dance companies here and world-class dance companies that perform. Gauthier Dance/Dance Company Haus Stuttgart’s engagement at the Joyce Theater before March 16 is evidence of the latter and the reason New Yorkers are happy.
Gauthier Dance was founded in 2007 by artistic director Eric Gauthier, a former soloist for Stuttgart Ballet. The company of 16 dancers quickly became famous for themselves and regularly performed works by Gauthier and internationally renowned choreographers. Joyce’s mixed bill includes New York debuts, Sharon Eyal, Hofesh Shechter (both with Tel Aviv’s legendary Batsheva Dance Company and Gauthier, and audience favorites from Ohad Naharin (a former art director and current House recorder of Batsheva).
The program starts with Eyal Viewpoint (2022), this is a trio commissioned by Gauthier Dance on the project Seven sins, Seven choreographers were invited to create a new work based on the above crimes. Born in Israel and now based in France, Eyal has been dancing with Batsheva for nearly 20 years, and was also their indoor choreography before starting his own company LEV dance. Her style is obviously her own, but thanks so much to Gaga Sports Languages, which Naharin created with the company during his time at the company. Gaga is to enhance the feeling within the dancer, find new exercise habits, and get rid of rigid dance training.
See: A beautiful show – “Alice Coltrane, Monument” from the Hammer Museum
The sentiment of the “new movement” is obvious Viewpointthree women in white tights and tights walk around each other, looking classic from a distance, but the way they get close is not at all. Their elbows were down and their shoulders were hiking. They grabbed the throat sinisterly, and entered second place with so much turnout at such an unnatural angle. Indeed, generally speaking, their movement is atypical. Finally, once they overcome the split duo and solo and add up, they walk around in related quick steps, pausing a robot salsa to Anne Müller’s classical music, but not a multi-music score, and then a robot vogoguing. Viewpoint Sometimes it’s cold and stiff, maybe intentional, but impressive.
Next is Gauthier’s tongue solo ABC (2019), danced by Shori Yamamoto. First, Gauthier’s recorded voice warns viewers that the following works will be performed by professionals and do not try these actions at home. Then, Gauthier’s voice passes through the letters (hence the title), reciting words and phrases involving dance, while Yamamoto expresses them through movement. The result is a playful game between the “omniscient narrator” and the dancer, the dancer and the audience. Some words are ballet terms, but others are even more surprising, such as “intermission” (the dancer takes a step back and the lights of the house are activated again), “old” (he holds his back and winces) and “Pina Bausch” (he smokes an invisible cigarette). During the occasional pause, Yamamoto performed outstanding jumps and jumps. When I attended on opening night, the audience was obviously happy – laughing “working”.
Next is Schaeff’s Swan Cake (2021), one of the five changes in classic ballet Swan Lake Delegate as part of the Gauthier Dance project Swan Lake. Born in Israel and now in London, Shechter is the founder and artistic director of the residential artists of Hofesh Shechter Company and Gauthier Dance. Gaga’s version is different from Eyal’s (Naharin’s, of course). Eyal’s choreography can be a posthuman place, and Shechter can be a human. Almost an animal. However, both sports styles are deeply rooted in the feeling and the body.
Swan Cake Start with the lights of the house. As the nine actors ran to the stage in their hip-clad street clothes, beat the beat, Schitcher’s infectious electronic score surged. They also invited the audience to applaud (we were happy to do so), while they nodded and popped their chests. And then – radiate it! This piece has some lofty rituals. What happens is beyond action or music, which is hypnotic. There are glimpses of swan-like arms, but these swans are not interested in drama. They are cool. At the end, the music changes and it sounds like we – it’s part of our experience, and part of the experience outside the club, hearing the rhythm of the walls. Then, it seems we are making a debut on the spacecraft. Then there is the melody of Tchaikovsky Swan Lake promote. Everything feels right. That’s strange magic Swan Cake. Afterwards, the person behind me whispered, “I want to see every second of every day.”
The shutdown procedure is iconic for Naharin Negative 16 (1999). What can I say about Israeli masterpieces that have not been said yet? Everyone should see it. Stop all. An interesting fact Negative 16This is executed multiple times by many companies around the world, and it is never the same. Not only does it involve the dancer improvisation, but the structure itself changes. The work is made from excerpts from early works by Naharin, and how Naharin chooses and arranges them depends on the company he sets up. So, even if you’ve seen it Negative 16 You haven’t seen this before Negative 16.
Sixteen dancers in black suits and hats sat on chairs on the semicircle on the stage. They all stood up, fell down, recovered, and then arched one by one – a stadium-like wave ended, with a dancer thrown onto the floor by an invisible force. This happened again and again when they shouted for the Jewish Passover song “echad Mi Yodea”. This is boring and profound. They then threw away the hat, jacket, shoes and white shirt, revealing the dull gray vest and shorts underneath.
Later, six dancers stood in front of the stage, their grey underwear standing in front of the stage and showed a strange and precise “Ballet lesson” to the sound of the metronome. Later, two dancers performed a sensory duet on classical music. There are moments when I think of swordsmanship, sex and true love. Later, the actors wore black costumes and wandered around the theater to find new dance companions. The audience was taken to the stage and invited to go to Mambo with them. On the opening night, the selected woman did not miss any beats. They paired all of this, especially the center woman (who was surprised to her) lifted up and swirled in her sneakers and jeans.
That night, Gaudier danced full of applause, and for good reason. They are fresh air in a city, and although a hub, they still feel stagnant. We can all use some fresh air now.
Gauthier Dance/Dance Company Theatrehaus Stuttgart Until March 16, 2025, the Joyce Theater in New York City.
