Philip Szporer

Editorial Advisory Committee, 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

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.


Le délire domestique

By Philip Szporer Le Délire Domestique

Le délire domestique by choreographer Deborah Dunn is an often absurd piece that is a response to a culture of division and the politics of domestic labour.


Dance Management in Canada By Philip Szporer

The recent crisis at the Foundation Jean-Pierre Perreault has opened people’s eyes to the functioning of dance administration, management and boards. Now, more than ever, Canada’s dance milieu is being forced to recognize that the business aspects of the art need to be addressed.



O Vertigo By Philip Szporer Soif

Thirty years of existence in a dance company’s life is more than a notable marker; it’s an achievement to celebrate and a time to pause and reflect on how the company’s dances are resonating with younger generations. Ginette Laurin’s O Vertigo hit this milestone this year, and delivered the world premiere of Soif to an appreciative hometown crowd.

360 Dance

Dancing Through Words with Wendy Perron

By Philip Szporer

To promote her new book Through the Eyes of a Dancer, Wendy Perron, the noted American choreographer, dancer, writer and editor, participated in a lively and wide-ranging conversation with colleague Maura Keefe for Jacob’s Pillow Dance Festival’s PillowTalks.

360 Dance

Dancing the Rite of Spring Today: Bodies, Particles, Technologies and Affects

By Philip Szporer

The way in which dance can exist at the intersection of art and technology can be directly linked to the early work of Thomas Edison, the Lumière brothers and many of their confreres. In Canada, the Montréal-based husband and wife team of filmmaker Denis Poulin and choreographer Martine Époque have been radically recomposing and altering human movement, creating a body of performance that can only exist in virtual form.

360 Dance

A Tangled Obsession

By Philip Szporer

Philip Szporer discusses A Good Madness – The Dance of Rachel Browne, a documentary by Canadian filmmaker Danielle Sturk.


Room with Sticks

Tedd Robinson, Ame Henderson and Charles Quevillon By Philip Szporer Room with Sticks Festival TransAmériques 2014

The first thing that struck me about Room with Sticks was the space. The locale, Espace Libre, a former fire station and once home to famed Carbone 14, was transformed into an intimate, open and very white space. (The piece has also been presented in a curling arena.) The back wall was entirely covered over in white paper, while dried branches, sticks and blocks of wood were spread out over the floor. Neon lighting gave the space an artificial glow.

360 Dance

Transcending Cultures

By Philip Szporer

Emerging from a complex political history in the twentieth century, the spirit of Czech independence comes to fruition in the contemporary performing arts community in Prague.


Antigone Sr.

Trajal Harrell By Philip Szporer Twenty Looks or Paris Is Burning at the Judson Church (L) Festival TransAmériques 2014

As choreographer Trajal Harrell tells the audience at the start of the show, his series Twenty Looks or Paris Is Burning at the Judson Church, comes in eight sizes. We were about to see Antigone Sr., which is the large variety. Regardless of the size, the proposition remains the same: “What would have happened in 1963 if a voguer from a New York house ball strutted downtown to Greenwich Village from Harlem to perform alongside the collective of Judson Church postmodernists?”

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