“Why a dance critic?” Richard Schechner doesn’t use those words, but he implies them as he greets me at New York Live Arts, where I’ve arrived for a reconstruction by the Austin, Texas, ensemble Rude Mechs of his Dionysus in 69. Why not? For one thing, I missed this epochal and controversial piece of “environmental theater” (Schechner’s term), when he and his actors presented it in the Performing … [Read more...]
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