A number of recent Philly performances have brought up questions about what happens when you take a dance form originally seen on the street, in a cafe or in the fields onto a proscenium stage. “Staged spectacles” of indigenous dance forms have been on the scene for ages now but we still might long for the “real thing.” Similarly, when a piece was site specific and is staged in a different space, how much gets lost? What have you seen that falls in one of these categories and how did you feel about the “translation”?
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Rachel DeForrest Repinz
After a painful whiteface incident at the Finnish National Ballet, Principal Dancer Nayara Lopes returns to Philadelphia Ballet.
