TABLE OF CONTENTS

JUTTA KOETHER

STRETCHING IDOLS, bending bodies, reshaping minds and audiences. Encountering “The Stravinsky Project” over the course of two nights in June at the Rose Theater at Lincoln Center in New York made me resurface puzzled and empowered. Those unhinging qualities of bodies moving. I liked what this did to me. An event that had it all. The production of pleasure and strangeness and more: moments that make us slow down to take in the substance of experience in all its complexity. As if Iggy Pop and Yvonne Rainer had been rolled into one.

And the site of all this, the dancers’ bodies, barefoot, continuously and most purposefully exchanging motions. The body becomes the medium of differentiation, and differentiation of perception occurs. Partially shattered discourse. Intense materialism, structures laid out like nonmimetic brushstrokes. Intensifying all cognitive ambitions at once.

This is not writing

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