Responding (notes app edition) to Stina Nyberg’s Make Hay While the Sun Shines and Sweet at Pageant
Images read: stina nyberg may hay while the sun shines like a preludeto the big story of everythinglike remembering the future whenhumans are symbols of themselveshumans are beautiful glitching actionfigures find pleasure in repetitionmischievous concepts of selvessweetmake hay while the sun shines makes more sense once the solo suite tells the big story of everythingof…
Responding (notes app edition) to Audre Wirtanen , jaamil olawale kosoko, and Levi Gonzalez at Judson
Images read: audretell the story with franknessof the devastatingly fucked up worldthis world where glitter and cake adorn slow violence that keeps us wearytalking shit like it’s her job like her life depends on it like our lives depend on itbecause how else will we realized the magic trick that turns red to green and…
Responding (notes app edition) to Tere O’Connors Rivulets
Image reads: satisfying like drinking from a water fountainnot all at once but also all at onceunison can be hydratingbutterfly sweat stains andbodies in a rorsharch testi guess i like a ballet formationi guess i like a ballet formation when i can unfocus my eyes and just get blurs offgreen and flat hands and body…
Responding (notes app edition) to Christopher “Unpezverde” Nuñez’s The Circle or Prophetic Dream
Image reads: technicolor billowed circlesbodies bare and light readybodies cloaked in relics in masks in tiny houses the twang of a jawbone being struckproduces a twitch in my bodya spasm like the memory of bone the slow fade the slow cresting wavethe full full full silence in the darkoh how i love the moment before…
Brooklyn Rail: Sharing Opacity
This writing was published in Brooklyn Rail’s November 2022 Issue as part of “VESSEL: Seeing Double,” parallel reviews by Noa Weiss and myself of David Thomson’s new work, VESSEL, which premiered at The Chocolate Factory in New York in October 2022. Read an excerpt below, and read the full interview on Brooklyn Rail’s website. One performer,…
Responding (notes app edition) to Mina Nishimura’s Mapping a Forest while Searching for an Opposite Term of Exorcist at Danspace Project
Image reads: is the opposite of an exorcism an incantation? laughing bones of a building laughing ghosts of a building gasping through them how do you listen to ghosts how do you cast a spell incomplete and unbotheredtrails in sand snails leaving slug tracksshard of bone twitchingpraying for a silly ghosti didn’t do iti didn’t…
Responding (notes app edition) to Fana Fraser’s MINDSEX at Abrons Arts Center
Images read:mindsex waiting for it to move you waiting for it to speak thru auras and ghosts couldn’t watch some spit spots nauseous honey viscous sweet tongue spittle burp mind fuck – perpetual opening nora is anxious what are we there for? whose sex? starting stopping getting distracted can’t decide can’t decide getting confused and…
Responding (notes app edition) to Rashaun + Silas’ RETROFIT: a new age at Danspace Project
Image reads: retrofitimprov worlds are so fun colorful cluttered full especially when on edge of life real arched feet betray the dance things are falling eyes scanning lets ruin it together
Responding (notes app edition) to Storyboard P’s No Diving 2 at Performance Space New York
Image reads: storyboard p how do you get in the zone? i look for where i’m lying to myself smooth and shaky precarity, often near edges he keeps surprisingwhen he slows down ahout on bailshoes often skimming audience members, gentlyeddie on stage, his mother weepingsmiles and eye contact and watching yousee me seeing you i…
Brooklyn Rail: In Conversation with Audre Wirtanen
This writing was published in Brooklyn Rail’s April 2021 Issue. Read my introduction below, and read or listen to the full interview on Brooklyn Rail’s website. On March 5, 2020, Audre Wirtanen danced through a stage of props—an IV stand, clipboards, doctor’s chairs—recounting experiences of mistreatment and misdiagnosis from systems that promised care. She impersonated…
being with and letting go
This writing was published as a part of Danspace Project’s Volume II of PLATFORM 2020: Utterances From The Chorus, a virtual catalogue that contains memories and reflections of the multi-week Platform. Read an excerpt below, and read the full essay here, on page 27. In the sanctuary, teetering on the edge of performance, we expand…
Responding to Eiko’s A Body in a Cemetery
I am in Green-Wood Cemetery, on my birthday, beside my parents. We are planted on a grassy slope among stone grave markers, eyes trained on Eiko–my mentor, employer, former professor, who I haven’t seen in six months. I haven’t seen her because of the pandemic, because so many people are dying. It feels right we…
Responding to Audre Wirtanen’s DX ME FIX ME
Published on Dance Enthusiast Audre’s handout, passed around after the performance of her new work, DX ME FIX ME, guides us, the audience, in how to engage with her work. Before asking us to reflect on what we experienced, she writes “Check in with yourself” “Notice you are breathing, you are on the ground.” With…
Responding to remembering Okwui Okpokwasili’s Sitting On a Man’s Head
Late March 2020. I’m so tired. I can’t figure out why. I’ve sat in front of a laptop researching disaster grants all day, but the government website keeps crashing. I baked cookies. I walked down my rainy street, veering back and forth to maintain the distance between masked neighbors. These things should not make me tired. I receive a message from a Danspace…
Responding to Melinda Ring’s Strange Engagements
I felt the internal sloshing, bumping, thumping of bone and flesh and breath on floor and skin and air. I felt the sweat dripping off his nose. I felt the squeak of the floor against her thigh. Us, the audience, were let into a secret world of five people who flop, hump, and slap with…
Responding to Aki Sasamoto’s Phase Transition
A manipulator (not Aki) seems to know where everything goes. She takes things apart, piece by piece, drawing our attention to the little parts that make up what feels like an eccentric aunt’s attic lab. Glass casks, canisters, bespoke carts, shiny worm-like air vents. It all fits together perfectly, despite looking DIY. The manipulator shuffles…
On performing “For your pleasure but the pleasure is mine”
I performed the dance, officially, twice. On night one, I am nervous. I don’t know what to expect. I know how to do the dance, I know that in the past audiences have fueled me, given me confidence. I spend the fifteen minutes before I go on stage in the dressing room tucking and untucking…
On Eiko’s “Duet Project”
When I imagine the Duet Project as a simple image, I see Eiko as a straight line gliding steadily forward. She, the line, acts as a constant, pointing towards an inevitable truth – death? The line intersects with other perpendicular lines on its way, but these collisions never stop her. The line pushes on, pulling…
On Eiko’s “A Body In Places: Met Edition” at the Met Cloisters
I entered the chilly room to find a projector on a cart, Eiko, and images of her projecting onto the textured rounded wall. In the moment I walk in, I catch Eiko standing defiantly in the beam of light, her body tripled. There’s real Eiko, there’s the shadow of Eiko, and then there’s the image…
On Eiko’s Residency at the Cathedral of St. John the Divine
Eiko has been “in residency” at the Cathedral of St. John the Divine since September. In addition to her photo and video exhibition being on view as part of the Christa Project, Eiko has been experimenting and practicing her solo project. To find out when she will be rehearsing, follow her on social media (you…
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NORA RAINE THOMPSON 