Fame or Famine

“I knew, in choosing Pablo Veron as principal dancer and co-choreographer, that the secret architecture of the tango would be central to the movement vocabulary of my production. Not the sleazy over-dramatised tango of so many shows (the tango that the Argentineans themselves call ‘tango for export’), but the underlying forms of the dance for two that tango at its best embodies so powerfully….The other major movement vocabulary that I have instinctively gravitated towards is hip hop, or street dance… (like the blues) is a vital expression of those outside the system finding and creating joy and power out of nothing. A street corner can become an auditorium; as you watch young people spinning on a piece of cardboard or tumbling across tarmac you can have as powerful a visual experience as any you can see on the stage…”–Sally Potter

Wow, this is a treat. Thanks to DancerDance, I’ve got oodles and oodles of fun exploring the Web2.0fulness of  CARMEN. This is like a reality show in a box, with interviews with artistic directors, Sally’s own blog, dance audition clips…this is the real deal, folks, not made-up drama like GREASE: The One That I Want was.

I’m especially excited because I (finally) got internet installed in my new house, which means many more entries, more time, and less time at a coffee shop trying to steal bandwidth…

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