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 Post subject: Sarah Michelson
PostPosted: Sat May 25, 2002 8:37 pm 
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<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Michelson takes a risk for White Oak Dance Project<P>Ann Murphy, Oakland Tribune<P>IN the 1980s British choreographer Sarah Michelson danced at the Cunningham studio in New York City, absorbing the ideas and methods of formal abstraction in modern dance. In the late'80s and early'90s, she knocked around San Francisco, working with Margaret Jenkins and dance/theatermaker Joe Goode.<HR></BLOCKQUOTE><P><a href=http://www.oaklandtribune.com/framework/0%2C1918%2C82%257E1809%257E633442%2C00.html target=_blank>More</a>


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 Post subject: Re: Sarah Michelson
PostPosted: Wed Aug 28, 2002 6:21 pm 
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Gia Kourlas writes in the NY Times:

Quote:
OVER the last seven years, Sarah Michelson has established herself as one of the contemporary dance world's most innovative spirits. As a performer during the latter half of the 90's, she interpreted material that was rarely as interesting as her quirky style. Ms. Michelson is not capable of blending into the background like a typical New York postmodern dancer, clad in a pair of baggy sweatpants and a T-shirt. Tall, voluptuous and covered in tattoos, she possesses the kind of subversive glamour that causes strangers to stare. In a theatrical setting, she can switch her personality from cocky vulgarity to regal elegance in a matter of seconds.
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 Post subject: Re: Sarah Michelson
PostPosted: Fri Apr 04, 2003 2:24 pm 
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In the NY Times:

Quote:
Are Those People Just Passing By or Part of the Act?

By JENNIFER DUNNING

Sarah Michelson loaded her "Shadowmann" with heart-sinking aesthetic baggage: the piece was to unfold in two parts at two theaters, usually a bad sign. <a href=http://www.nytimes.com/2003/04/04/arts/dance/04SHAD.html target=_blank>more</a>


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 Post subject: Re: Sarah Michelson
PostPosted: Tue Apr 08, 2003 9:23 am 
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Deborah Jowitt in the Village Voice:

Quote:
Just because you saw Part 1 of Sarah Michelson's Shadowmann at the Kitchen doesn't mean that you can predict what will ensue in Part 2 at P.S.122 (through April 27). <a href=http://www.villagevoice.com/issues/0315/jowitt.php target=_blank>more</a>


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 Post subject: Re: Sarah Michelson
PostPosted: Mon Apr 14, 2003 9:08 am 
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A review in the NY Times:

Quote:
Choreography That May or May Not Include a Cab

By JENNIFER DUNNING

Sarah Michelson has created a magical small world, a cocoon of sorts, in the concluding segment of her two-part "Shadowmann."
<a href=http://www.nytimes.com/2003/04/14/arts/dance/14MICH.html target=_blank>More</a>


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 Post subject: Re: Sarah Michelson
PostPosted: Wed Apr 23, 2003 9:01 am 
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Deborah Jowitt in the Village Voice:

Quote:
Our eyes met. "Cocktail party in the twilight zone," he offered, bemused. Part II of Sarah Michelson's Shadowmann (at P.S.122 through Sunday) has that effect. <a href=http://www.villagevoice.com/issues/0317/jowitt.php target=_blank>more</a>


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 Post subject: Re: Sarah Michelson
PostPosted: Sun May 04, 2003 6:33 am 
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Location: London, England; Tallinn, Estonia
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When Sara Michelson is at work, dance is likely to be happening everywhere inside—and out—of the theater. Boris Eifman’s Russian variation on Some Like It Hot is barely tepid. By Laura Shapiro for New York Metro


Rule one: Never read what Sarah Michelson says about her work. Skip right past that interview in the paper, throw out the company’s “artistic statement,” ignore the remarks on the postcard announcing the show, and if somebody shoves a quote in front of you—for instance, “It creates practical and ethereal space by rigorously denying answers to questions and perversely redirecting form with and within its own logic”—try to keep your eyes shut. Rule two: Go see the work. Whatever it is and whatever she calls it, just go.

Michelson staged her latest piece, Shadowmann, in sections: The first part ran for a couple of weeks at the Kitchen, and the second has just closed at P.S. 122.

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<small>[ 04 May 2003, 08:34 AM: Message edited by: Stuart Sweeney ]</small>


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 Post subject: Re: Sarah Michelson
PostPosted: Sat Jan 08, 2005 3:44 am 
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Location: Estonia
Quote:
Despondent Diva

by ELIZABETH ZIMMER
the Village Voice

Sarah Michelson is a dance world star. But she's tired of being broke. She's tired of not having enough money to take care of her body. And she's tired of living in what amounts to a cell.
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 Post subject: Re: Sarah Michelson
PostPosted: Sat Jan 08, 2005 3:48 am 
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Quote:
Diva Takes a Dive: Sarah Michelson Injured

by ELIZABETH ZIMMER
the Village Voice

Michelson is wearing a special shoe to protect her foot and keep it from articulating. By Monday afternoon she was back in the theater, supervising a technical rehearsal of the show's lighting and sound. On Tuesday her troupe and staff finished the spacing and lighting rehearsal.

The first two weeks of Daylight's run have been canceled; audiences are invited Monday, January 17 through Saturday, January 22. But it's not only two weeks of shows that have been lost. "I can't go back to work teaching yoga to pay my December rent," says the choreographer.
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 Post subject:
PostPosted: Sun May 01, 2005 8:44 am 
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Quote:
Moving On, Boal Gives His New York Fans an Intimate View
by TOBI TOBIAS for he Village Voice

A program curated by pomo dance celebrity Sarah Michelson should have been more striking.

published: April 19, 2005
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 Post subject:
PostPosted: Tue Jun 14, 2005 12:23 pm 
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Location: Estonia
Quote:
Back on the Boards, but Haunted by an Injury and the Rent
By CHRISTOPHER REARDON for the New York Times

When making dances, Ms. Michelson tends to create movement with her own body, then transfer it to her closely knit ensemble of dancers.

published:June 14, 2005
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 Post subject:
PostPosted: Mon Jun 20, 2005 2:53 am 
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Location: Estonia
Quote:
Elusive Meaning From Potent Movement
by JOHN ROCKWELL for the New York Times

Ms. Michelson has been the hard-luck kid of dance of late, quite apart from her rent problems. She had been scheduled to present an ambitious new piece, "Daylight," in January at Performance Space 122. But she broke a foot in rehearsals, and all that money and all that advance publicity - she's much admired in the dance world - went for naught. Now, she has rebuilt her ambitious set, reassembled her many collaborators and re-rehearsed her dancers, and "Daylight" opened a two-week run on Wednesday night.

published: June 17, 2005
more...


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 Post subject:
PostPosted: Tue Jun 28, 2005 11:29 am 
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Location: Estonia
Quote:
Not a Home
Compressed into life's corridor and making everything work
by DEBORAH JOWITT

Her brilliant, disturbing new Daylight, created in collaboration with the four dancers and architect Dominic Cullinan, is far starker than her smashing two-part Shadowmann (2003) — more compressed, more abstract,...

published: June 21, 2005
more...


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 Post subject:
PostPosted: Wed Jul 06, 2005 10:43 am 
"Daylight" at PS122 absolutely the worst show ever!

I thought there was only maybe 5 minutes of interesting choreography
stretched out to fill 45 minutes of show. Little to no variation in motion,
shape or texture or tempo (other than those deadly painfuly freezes) and
despite my great appreciation for her redoing of the PS space, it was much
to the detrement of the show, when the sight lines are killed so much and
you split the audiece focus over a 60 foot wide space that is so shallow the
dancers can't do their choreography full-out for fear of hitting an audience
member or a light can. I thought it was pretentious and self involved, way
too much modern dance "f@#!-you" bored facial expression. The music was squelchy and tinny and poorly
mixed and grating and totally non sequiter. Those two talking moments felt
really after the fact taped on and ridiclulous. It seemed like a load
of hype and no follow through. "Notice my set and my leg brace and press
about my financial woes and my smoke machine and my abstructed views so you
won't notice my horrible dance." Even the show starting late (due to some
supposed costume disaster) was a just another P.R.
ploy and not legit, just to have a line down the stairs and out the door.

All I know is that I left pissed off.
and more so because the way the stage was set up I couldn't walk out during
the show, I was FORCED to sit through the whole thing. (well actually I
managed to leave in between the quartet leaving and the tag on solo
entering). My boyfriend said it was the worst thing he's ever seen, and I've dragged him to a LOT of dance.

I went in really wanting to like it. and I don't want to be a hater I
haven't seen her other work so I don't have a reference for where this is
coming from, but I will definitly have a very hard time paying any money to
ever see another of her shows again.

I know it is rather bitchy and I am probably made more frustrated by all the
positive reviews this show has received but there it is.
(actually,
again, I liked the set and the idea of the set, it just ended up feeling
like a ploy to create more seats/tickets at the cost of dance and
consideration of the audience) and I did't pay to go see a set design or lighting effects, I went to see a dance and was completely let down.

Avoid this work at all costs if it ever comes your way. All the press is hype, undeserved, and will only help to pull the wool over your eyes and make you think you need to see it.

YOU DON'T


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 Post subject:
PostPosted: Sat Jul 23, 2005 2:47 pm 
from www.culturebot.org

From Jeff Miller (Jul 19, 2005 1:17 AM)
Utterly disappointed by the work and completely disillusioned by the NY dance critics who endorsed the artist. I was nothing if not excited to see her bold reconception of the venue (PS 122), a dark and awkwardly deep space transformed into a bright and intimate stage. The band was positioned behind the audience bleachers creating another dimension to the space. Her P.S. 'extreme makeover' extended beyond the 4 walls of the theater down the usually dank hallways of the former school that she whitewashed to enhance the feeling of daylight. She removed all of the 'clutter' (adverts for fellow dancers) that usually adorns the same hallway. However it became immediately evident that Ms Michelson spent a great deal of time redesigning and constructing the venue rather than constructing a solid piece of choreography

more -> http://www.culturebot.org/archives/2005 ... ylight.php


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