Criticizing Dance: Follow the Heart or the Mind?, follow up on Doug Varone post.http://www.thirteen.org/sundayarts/blog/criticizing-dance-follow-the-heart-or-mind/1132/
And, unlike ballet or flamenco, there isn’t a standard technique against which to measure a performance. Apart from generational influences (Varone danced with Lar Lubovitch, for example, who just choreographed an amazing, gem-like production of Stravinsky’s Histoire du Soldat), each modern choreographer’s work is sui generis. It lends itself to being experienced, rather than analyzed. Thus when asked to write about it, it can be problematic for the writer. You often wind up describing the choreographer’s specific language, or the individual performers or production elements. It’s not as juicy as writing about something bizarre or anarchic. It even raises the question, should it be reviewed along the traditional model of criticism from which theTimes has descended—more the theater reviewing model, where power is concentrated in one outlet, and reviews are often positive or negative?