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By MARCIA B. SIEGEL  |  May 4, 2010

A man crosses the floor on his back, pulling himself feet first by swinging one leg across his body and pressing forward. Other dancers move through the space with effort, falling, pulling themselves up, collapsing suddenly.

A man flattens himself against the board and another man traces him as he takes one shape after another. Still later, a man stands, transfigured or crucified, in a shaft of golden light and a spill of sand. He’s lifted by the others and laid on the floor. A woman traces his shape and continues the line back to the board where people have left their mark. Could there be hope after suffering?

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ARTICLES BY MARCIA B. SIEGEL
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  •   MARK MORRIS'S SOCRATES, THE MUIR, AND FESTIVAL DANCE  |  May 22, 2012
    Erik Satie called his vocal work Socrate a "symphonic drama," though it's anything but dramatic in a theatrical sense — or symphonic, either.
  •   JOFFREY BALLET GETS ITS DUE  |  May 08, 2012
    New York has two great ballet companies, New York City Ballet and American Ballet Theater. Any other ballet troupe that wants to put down roots there has to develop a personality that's distinct from those two.
  •   THE BOSTON BALLET’S DON QUIXOTE  |  May 01, 2012
    In the long string of ballet productions extracted from Miguel de Cervantes's novel Don Quixote, the delusional Don has become a minor character, charging into situations where he shouldn't go and causing trouble instead of good works.
  •   THE TREY MCINTYRE PROJECT IGNITES THE ICA  |  March 21, 2012
    When Trey McIntyre found a base for his infant company in Boise, Idaho, four years ago, eyebrows lifted in the dance world.
  •   BALLET HISPANICO FALLS SHORT  |  March 13, 2012
    All three dances presented by Ballet Hispanico at the Cutler Majestic last weekend depended heavily on costume effects to convey their messages.

 See all articles by: MARCIA B. SIEGEL

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