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Oona Doherty: Hope Hunt and the Ascension into Lazarus
A riveting portrait of the disadvantaged white male that meshes beauty with damnation
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Katerina Andreou: BSTRD
Can a solo dance piece create, on stage, that much needed room of one’s own?
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Timothy and the Things: Hunting (Vadászat)
Three men hunting – but for what, for whom, and why? Anna Dohy looks to the wider stage for answers
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The naked stage of Sanna Kekäläinen
Riikka Laakso on Finnish choreographer Sanna Kekäläinen, and the subversions and inversions of her 2017 piece Whorescope
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Ligia Lewis: Minor Matter
Black matters in Minor Matter, a powerful encounter with the myriad concepts of blackness
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Mònica Pagès watches Likes by Nùria Guiu
Classical music journalist Mònica Pagès sees a solo about the value of ‘likes’ in an age of social media. How was it for her?
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Christos Papadopoulos’s Opus: in search of the dialectics of music and movement
A textual exploration of a performative exploration in sound, meaning and time
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Mette Ingvartsen: 21 pornographies
Assuming the position is at the heart of this physical exploration of erotica
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Jasna Vinovrški: Lady Justice
With witnesses, evidence and judgement – is a dance performance a bit of a trial?
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How to like dance
Audience clubs are on the increase – why? Luke Forbes on his experience of a new workshop in Melbourne
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At work: Meytal Blanaru
Brussels-based Israeli choreographer Meytal Blanaru on the workings behind her work
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The wilderness within
What happens when dance takes nature as its stage? A festival in the northernmost town in the world leads to a changed sense of self, culture and existence
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Arkadi Zaides: TALOS
Arkadi Zaides’ detatched demonstration of surveillance, digital simulation and border infringements
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Hodworks: Sunday
Hodworks’ Sunday begs the question: in the age of the selfie, what separates the person and the persona?
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Springback Magazine is authored by writers who have completed Springback Academy.
-
Oona Doherty: Hope Hunt and the Ascension into Lazarus
A riveting portrait of the disadvantaged white male that meshes beauty with damnation
-
Katerina Andreou: BSTRD
Can a solo dance piece create, on stage, that much needed room of one’s own?
-
Timothy and the Things: Hunting (Vadászat)
Three men hunting – but for what, for whom, and why? Anna Dohy looks to the wider stage for answers
-
The naked stage of Sanna Kekäläinen
Riikka Laakso on Finnish choreographer Sanna Kekäläinen, and the subversions and inversions of her 2017 piece Whorescope
-
Ligia Lewis: Minor Matter
Black matters in Minor Matter, a powerful encounter with the myriad concepts of blackness
-
Mònica Pagès watches Likes by Nùria Guiu
Classical music journalist Mònica Pagès sees a solo about the value of ‘likes’ in an age of social media. How was it for her?
-
Christos Papadopoulos’s Opus: in search of the dialectics of music and movement
A textual exploration of a performative exploration in sound, meaning and time
-
Mette Ingvartsen: 21 pornographies
Assuming the position is at the heart of this physical exploration of erotica
-
Jasna Vinovrški: Lady Justice
With witnesses, evidence and judgement – is a dance performance a bit of a trial?
-
How to like dance
Audience clubs are on the increase – why? Luke Forbes on his experience of a new workshop in Melbourne
-
At work: Meytal Blanaru
Brussels-based Israeli choreographer Meytal Blanaru on the workings behind her work
-
The wilderness within
What happens when dance takes nature as its stage? A festival in the northernmost town in the world leads to a changed sense of self, culture and existence
-
Arkadi Zaides: TALOS
Arkadi Zaides’ detatched demonstration of surveillance, digital simulation and border infringements
-
Hodworks: Sunday
Hodworks’ Sunday begs the question: in the age of the selfie, what separates the person and the persona?
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