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Contributor

Philip Szporer

Contributor

Philip Szporer is a Montréal-based freelance writer, filmmaker and lecturer. Recipient of the 2010 Jacqueline Lemieux Prize, Scholar-in-Residence at the Jacob’s Pillow Dance Festival and a former Pew Fellow at UCLA, Philip contributes to Tanz. Media productions include Byron Chief-Moon: Grey Horse Rider, Quarantaine, and the stereoscopic film, Lost Action: Trace

Philip Szporer's Work

 

Regrets, I’ve had a Few

By Philip Szporer Piaf by Atlantic Ballet Theatre

In the middle of this jittery ballet there is a quiet, intimate sequence that suggests what Piaf, created by Moncton’s Atlantic Ballet Theatre, could be.

 

Pluton

La 2e Porte à Gauche, Danse-Cité and Agora de la danse By Philip Szporer Pluton

At the heart of Pluton (French for Pluto) is something quite unique. If the former planet Pluto is now an allegorical term for being ruled out, these here are dance artists who are not okay with being forgotten about – they are speaking up.

 

A Meeting of Minds

Merce Cunningham archivist David Vaughan and Pepper Fajans at Montréal’s Fringe Festival By Philip Szporer

Fringe festival-going can be a distinctly hit-or-miss experience. It was my great surprise to happen upon Co. Venture, a beauty of a show produced and developed by the fledgling Brooklyn Touring Outfit in its world premiere. The piece, performed by the duo, is about their cross-age friendship.

 

An FTA Round Up

By Philip Szporer Festival TransAmériques (FTA)

This ninth edition of Montréal’s Festival TransAmerique (FTA) was once again a two-week intensive bringing dominant artists as well as newer voices from the Canadian and international scene together from the realms of dance, theatre and performance. There was an overload of stimulation, from the poignancy and charm of Seoul’s Eun-Me Ahn’s dancing grandmothers and her astonishing company, to Daniel Léveillé’s continued study into personal space and the engagement of the other in Solitudes duo, or Stéphane Gladyszewski’s study Phos, using a playground of technology to probe what’s seen and unseen, as just a few examples of work on view.

 
360 Dance

A Moving Sound Amidst the Hedgerow: Choeur Maha at the Reford Gardens

By Philip Szporer

Sound artist, composer, and choral conductor Kathy Kennedy envisions is an eighteenth-century court dance, evoking the symmetrical sense of the garden, and using those structures compositionally for the Incantata floralis.

Hard Art

Unpacking Contemporary Performance By Philip Szporer, Janet Smith

Today’s dance practice is hugely varied – it takes inspiration from other arts, plays with developments in science and technology, embodies modes of existence that are mundane and pushes through complex philosophical and cultural thinking that is happening today. Making sense of these variable practices can be bewildering for anyone, but what do critics do when faced with unwieldy presentations? Smith and Szporer attempt a few answers, providing different ways of thinking about and experiencing contemporary performance.

360 Dance

Breaking Out

By Philip Szporer

In the spectacularly popular gaming arena, dance has been marginalized due to its seemingly limited commercial viability, but that is changing.

360 Dance

Sia, Shia, and Maddie: The Elastic Heart

By Philip Szporer

The new year has started off with a bang, courtesy of the Australian singer-songwriter Sia and her latest music video, Elastic Heart. The video features a warring dance by actor-turned-performance artist Shia LaBeouf and the phenomenal dance sensation Maddie Ziegler, best known for her appearance on the competition reality series Dance Moms.

 
360 Dance

Reflections on 2014

By Philip Szporer

What follows is a consideration of work that I saw in 2014, listed in no particular order. It is also a message of gratitude to those creators who unfailingly push forward, break boundaries, develop their vision and create worlds in which we, as audiences, can be inspired and challenged.

 
360 Dance

CINARS: Convergence and Discovery

By Philip Szporer

The biennial CINARS (Conférence internationale des arts de la scène) is an intense meeting of minds and a don’t-miss event of magnitude. Numbers speak for themselves: this year, for its sixteenth edition, over 1500 participants (presenters, producers, agents, artists) from across the country and around the world converged on Montréal for what many consider one of the most stimulating and inspiring performing arts markets around, a place in which they could build their business.

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