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 Post subject: Re: CRASHArts
PostPosted: Thu Jan 22, 2004 7:03 am 
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From Marcia Siegel in the Boston Phoenix (after the review of the Trock):

Quote:
Straight and not so straight
Les Ballets Trockadero de Monte Carlo; ‘Dance Straight Up’

....
HOW TO TELL A STORY without resorting to the more apparatus of verbal theater has been a preoccupation of dance for a couple of hundred years. The 19th-century ballet found a very successful solution in stringing together virtuosic set pieces and celebratory groups, with enough mime to move the plot along (see Swan Lake and Raymonda). In contemporary times, collage effects can mix dance movement with sounds, objects, and visual devices like film to create images that make sense in non-linear ways.
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 Post subject: Re: CRASHArts
PostPosted: Fri Apr 16, 2004 5:36 am 
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From Theodore Bale in the Boston Herald: ‘Limit’ showcase set to launch on count of 10
Quote:
For one-stop shopping on the local contemporary dance scene, look no further than “Ten’s the Limit,” which opens tonight at Green Street Studios in Cambridge. CRASHarts will present eight of this area’s finest choreographers in dances no longer than 10 minutes, a programming device that ensures both brevity and assortment.


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 Post subject: Re: CRASHArts
PostPosted: Thu Apr 22, 2004 7:17 am 
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In the Boston Phoenix (following comments on a recent Balanchine celebration events at Harvard) Marcia Siegel reviews ‘Ten’s the Limit’
Quote:
These 10-minute commissions give young artists some visibility, but they also encourage a short attention span, which is just as unfriendly to the development of serious ideas in the arts as it is in politics. Five of the eight pieces on the program were billed as work-in-progress, so maybe their creators plan to deepen what they showed us.


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 Post subject: Re: CRASHArts
PostPosted: Sun Feb 06, 2005 10:47 am 
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From Thea Singer in the Boston Globe:
In a search for something fresh, curator faces tough choices - Four make cut for CRASHarts commissions
Quote:
.... Veteran dancer, choreographer, and critic Gus Solomons Jr. became painfully aware of the shrinking talent pool last summer when he set out to curate CRASHarts' third annual Dance Straight Up! concert, which will run from Thursday through next Sunday in Cambridge. Dance Straight Up! gives four local choreographers or groups $3,000 each to create works to be presented in the joint show.


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 Post subject: Re: CRASHArts
PostPosted: Thu Feb 10, 2005 6:16 am 
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From Theodore Bale in the Boston Herald: Companies’ innovative works come ‘Straight’ from heart
Quote:
Choreographer Sara Sweet Rabidoux found inspiration for her newest dance, “The Day of the 24 Cakes,” reading the journals of Sylvia Plath. She says the finished piece, however, looks more like the movie “The Shining.” .... Local fans can see the results tonight at the Zero Arrow Theatre in Harvard Square, Cambridge, where Rabidoux’s work premieres alongside that of Digby Dance, Mavi Dance & Brookline Academy Performance Companies, and the Nicola Hawkins Dance Company. The occasion is World Music/CRASHarts’ “Dance Straight Up!” - an annual tradition now in its fourth year.


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 Post subject: Re: CRASHArts
PostPosted: Fri Feb 11, 2005 5:59 am 
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From Christine Temin in the Boston Globe: ‘Straight Up!’ falls down with dance premieres
Quote:
.... Alas, much of the choreography in last night’s opening of the third annual “Dance Straight Up!” was itself numbing, outclassed by costumes, music, or sheer spirit. The idea of the series, presented by CRASHarts, is to commission premieres from local dance makers. Noble the notion may be, but the format -- four works presented without intermission -- did everyone a disservice.


<small>[ 11 February 2005, 07:01 AM: Message edited by: BBalletFan ]</small>


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 Post subject: Re: CRASHArts
PostPosted: Thu Feb 17, 2005 7:02 am 
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From Marcia Siegel in the Boston Phoenix: Scrolling - ‘Dance Straight Up(!)’ at Zero Arrow Theatre
Quote:
CRASHarts has sponsored three rounds of “Dance Straight Up” (hold the exclamation point), commissioning new work from local choreographers, and last weekend’s show, at Zero Arrow Theatre in Harvard Square, skimmed through a range of dancemaking styles with one intriguing work, two capable but predictable works, and a community-dance effort.


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 Post subject: Re: CRASHArts
PostPosted: Fri Mar 18, 2005 5:14 am 
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From Theodore Bale in the Boston Herald: Versatile Battleworks blitzes Hub
Quote:
Choreographer Robert Battle says the best description of his work came from an audience member during a recent post-performance Q & A session. “She called it ‘Everything from Bach to bongos,’ “ Battle said with a chuckle, “and she’s right!”

When CRASHarts presents Battle’s nine-member company Battleworks in its Boston-area debut tonight at the Zero Arrow Theatre in Harvard Square, the dances will certainly run the gamut from baroque to funk


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 Post subject:
PostPosted: Sat Apr 23, 2005 11:27 am 
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From Christine Temin in the Boston Globe: http://www.boston.com/ae/theater_arts/articles/2005/04/23/theyre_limited_by_time_not_talent/
Quote:
They’re limited by time, not talent
....
The packed audience at last night’s premiere spent 80 minutes of their time and $15 per ticket. The minimal investment paid off. The dancers were generally well trained and the choreography well made. Most of the choreographers showed a belief in a hybrid modern/ballet dance technique: In general, feet were pointed and legs were stretched. What wasn’t stretched was the art form. None of these took major risks


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 Post subject:
PostPosted: Thu Apr 28, 2005 7:48 am 
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Marcia Siegel concludes her Boston Phoenix article with comments on "Ten's the Limit": http://www.bostonphoenix.com/boston/events/perform/documents/04646058.asp
Quote:
Wind-up
Alvin Ailey; Cyberarts; ‘Ten’s the Limit’

‘Ten’s the Limit’ showcase at Green Street Studios offered a couple of convincing 10-minute pieces, but most of the eight entries, which were curated by Jim Coleman, looked like excerpts from longer pieces or uncooked prospective new ones.


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 Post subject:
PostPosted: Thu Apr 19, 2007 7:29 am 
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From Theodore Bale in the Boston Herald:
Quote:
Dancer’s method has a scientific madness

For contemporary-dance choreographer Karl Cronin, the theater is a laboratory. Each dance he creates requires a different technique because each dance is based on a new hypothesis.

Cronin is one of eight local choreographers ... who have just 10 minutes to show what they have to say through movement at CRASHarts’ sixth annual “Ten’s the Limit” showcase at the Institute of Contemporary Art Friday and Saturday.

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 Post subject:
PostPosted: Thu May 03, 2007 7:23 am 
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From Debra Cash in the Boston Phoenix:
Quote:
City limits
Boston Cyberarts’ ‘The Body’s Limit’ at Green Street, ‘Ten’s the Limit’ at the ICA

....
CRASHarts’ Maure Aronson made a ... disclaimer as he introduced this year’s edition of “Ten’s the Limit,” which was guest-curated by New York choreographer Robert Battle and held at the ICA. Mentioning that some of the works were still in progress — without indicating which ones he meant — kept open a window of hope for the more unbaked offerings.

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 Post subject:
PostPosted: Sat Jan 19, 2008 8:34 am 
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From Thea Singer in the Boston Globe:
Quote:
Corbett adds a twirl to Twain classic

CRASHarts’ seventh annual “Ten’s the Limit” concert ... [brought] a single choreographer into stark relief - a bright light at the end of what sometimes felt like an interminable tunnel.

That’s not to say there weren’t glimmers of promise in this showcase of new dances or works-in-progress by eight Boston-based artists. But only Caitlin Corbett’s excerpt from “Tom’s Wealth: A Dance for the Masses” kept me on the edge of my seat, grinning with delight.

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 Post subject:
PostPosted: Wed Jan 23, 2008 7:21 am 
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From Marcia Siegel in the Boston Phoenix:
Quote:
Bytes
‘Ten’s the Limit’ at the ICA

CRASHarts’ “Ten’s the Limit” was back last weekend for the seventh time, presenting eight mini-dances by eight different choreographers at the Institute for Contemporary Art. The notion of confining entries to 10 minutes seems arbitrary .... “Ten’s the Limit” provides artists with exposure to an audience presumably wider than their extant friends and fans. .... But the time limitation stunts the growth of new players as well as established ones.

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 Post subject:
PostPosted: Tue Mar 11, 2008 7:00 am 
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From Karen Campbell in the Boston Globe:
Quote:
A swirl of innovation inspired by classic works
It takes a lot of chutzpah to mess around with Stravinsky, especially an iconic work like “The Rite of Spring.” One of the 20th century’s most vivid, groundbreaking compositions, it has been choreographed by more than a dozen major artists, most taking inspiration from the score’s themes of sacrifice and rebirth.

But innovative Israeli choreographer Emanuel Gat ... takes a decidedly different tack, and for the most part, it works brilliantly.

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