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 Post subject: Headlong Dance Theatre
PostPosted: Sun Mar 24, 2002 8:39 am 
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Posts: 921
Location: US
Article in the NY Times By Gia Kourlas:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>DOES experimental dance have to be intimidating? Not according to Headlong Dance Theater of Philadelphia, which likes to lace its cerebral offerings with sly humor. In "Subirdia," the troupe's latest piece, the culture of birds is mirrored in 1960's suburban America, complete with miniature houses and white picket fences.<P>The dance portrays the antics of a single woman and two couples, with the men fighting over yards and swapping wives.<HR></BLOCKQUOTE><P><A HREF="http://www.nytimes.com/2002/03/24/arts/dance/24KOUR.html" TARGET=_blank><B>Click for More</B></A><BR>


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 Post subject: Re: Headlong Dance Theatre
PostPosted: Tue Apr 16, 2002 10:13 am 
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Location: SF Bay Area
Deborah Jowitt in the Village Voice:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Headlong Dance Theater—the brainy, witty Philadelphia creation of David Brick, Andrew Simonet, and Amy Smith—also deals with more straightforward narrative than usual.<HR></BLOCKQUOTE><P><a href=http://www.villagevoice.com/issues/0216/jowitt.php target=_blank>More</a>, in the second item of the linked article.


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 Post subject: Re: Headlong Dance Theatre
PostPosted: Fri Sep 19, 2003 12:09 pm 
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Location: SF Bay Area
Quote:
Using Fragments of Images As a Mirror of a Culture
Headlong Dance Theater
Dance Theater Workshop


Anna Kisselgoff
NY Times

Headlong Dance Theater, an experimental troupe from Philadelphia, has good ideas and an enterprising spirit, but "Britney's Inferno," its attempted critique of pop culture at Dance Theater Workshop (through tomorrow), resembles a work in progress. <a href=http://www.nytimes.com/2003/09/19/arts/dance/19MUSI.html target=_blank>more</a>


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 Post subject: Re: Headlong Dance Theatre
PostPosted: Wed Sep 24, 2003 5:44 am 
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Location: Estonia
Quote:
Today's Star, Tomorrow's Trash

By DEBORAH JOWITT
The Village Voice

Simonet, Amy Smith, and David Brick collaborate in creating the Philadelphia-based Headlong's pieces, with contributions from company members (including Kate Watson-Wallace and Lee Etzold). In the past, their smart collective gaze has lit on Star Wars, James Joyce's Ulysses, and suburban backyards. In Britney's Inferno, they find terrifically clever ways to show adulation and its decay ("Boredom is the new anger," Simonet tells us).
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 Post subject:
PostPosted: Sat Jul 28, 2007 6:11 am 
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Posts: 1845
From Karen Campbell in the Boston Globe:
Quote:
Warsaw ghetto story inspires ‘Shosha’
Headlong Dance Theater’s “Shosha” is ostensibly about the Isaac Bashevis Singer novel of the same name, set in the Warsaw ghetto of the 1930s.
....
There’s a bit of emotional whiplash as the action veers between some very funny directorial moments and the drama of the story, but the 50-minute “Shosha” ultimately turns out to be both a clever deconstruction and a sometimes moving, poetic evocation, both an expose and a celebration of dramatic artifice.

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 Post subject:
PostPosted: Thu Aug 02, 2007 7:26 am 
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From Marcia Siegel in the Boston Phoenix:
Quote:
Dances with character
Headlong Dance Theater, Chunky Move, Paul Taylor

Dancers are working with character more frequently, after decades of choreography drenched in physical accomplishment. It’s another phase in a perennial campaign aimed at relating the dance to the audience. As if dancing by itself weren’t human enough. At Concord Academy Summer Stages last week, Headlong Dance Theater of Philadelphia took off from an Isaac Bashevis Singer novel, Shosha, about love and unworldly delusion in Poland during the rise of the Nazis.

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 Post subject: An open process
PostPosted: Thu Aug 23, 2007 1:55 pm 
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Posts: 61
Location: Boston, MA
What I liked most about seeing Shosha at Concord Academy was the way the company's creation/exploration methods were brought in as a completely visible element of the work. During the week proceeding the performance, the three members of Headlong led the SummerStages dancers in a wide array of release-based exercises and tasks that built awareness of the transparency of consciousness in the face and body. These same exercises were in the piece in the guise of warm-up activities done by a 1970s experimental theatre troupe. The integration of process, letting the seams show to reveal the craft, drew me in closer to Shosha - as though we together were creating the story.


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