Aynsley 51% WAMC Radio interview by Susan Barnett
Click here to see images from a six page feature on AVMG
in Beijing, China-based Vision Magazine.
|
In her new trio “And How Should I Begin?,” the gifted young choreographer struggles with T. S. Eliot’s “The Love Song of J. Alfred Prufrock.” The poem is both muttered sotto voce and recited outright, and Vandenbroucke draws upon its teacups, sprawled bodies, magic lanterns, and mermaids riding the waves. Yet the dance, measured out in super-brief vignettes, is strongest when it treats the poem’s melancholy obliquely, using photocopies of the poem to wall off or connect the dancers. |
Brian Seibert
The New Yorker, April 2007
|
| ...I found the experience dazzling. |
Levi Asher
Litkicks.com, April 2007
Link to article and interview by Levi Asher
|
Aynsley Vandenbroucke Movement Group's "And How Should I Begin?" borrows heavily from T.S. Eliot's poem "The Love Song of J. Alfred Prufrock" while being a wholly imaginative visual poem of its own. Her work shows thoughtfulness, dedication and pluck. [The piece] asks a simple question, answers with a wealth of variations, and leaves a lot of room for the viewer to also ask, and how should I begin? No matter how, just get started. |
Marilyn Russo
Attitude The Dancers' Magazine, Summer 2007
|
The work of this talented young choreographer has invited comparisons to Cunningham and Butoh, but it more boldly recalls the very beginnings of modern dance. |
Brian Seibert
The New Yorker, May 2006
|
| The hazards in a mysterious, quite intriguing excerpt from Aynsley Vandenbroucke's "Full Circle" are more playful in nature. To live music by Leanne Darling, and in near total darkness, two women in white train flashlights on two others—making them jump-rope over beams, penning them in, spotlighting their squiggling feet—before each gets her own lamp and tries in vain to pinpoint everyone else's fast-moving steps.
|
Deborah Jowitt
The Village Voice, September 2006
|
| Watching Aynsley Vandenbroucke’s “Seven Times Fall Down, Eight Times Get Up” on Thursday night was like attending a service in an unfamiliar house of worship …ritualistic …meditative. |
Jack Anderson
The New York Times, April 2005
|
| Aynsley Vandenbroucke is an intriguing young choreographer, exploring extremes, essences of emotions and actions. Her work is thoughtful, intense, minimalist, puzzling. Its images hold in your mind, inviting you back to ask questions, rethink aesthetic assumptions. |
Martha Myers
Dean Emeritus of the American Dance Festival
|
The young choreographer’s new “Seven Times Fall Down, Eight Times Get Up” reveals her gift for simple, strong images.
|
|
Brian Seibert
The New Yorker, May 2005
|
| It was refreshing and recuperative for me in ways I rarely experience in theater…. Shadow plays. Going to extremes...Spinning, Laura Dean, Kai Ta Kai, Murray Spalding come to mind. Full commitment. Simplicity of gesture. No random movement. Clear development. Minimal, but fully dynamic. |
Ellen Goldman, CMA
author of As Others See Us and Geometry of Movement
|
| Aynsley makes beautiful use of the physical environment with her dynamic choreography, and the small company of female performers is exquisite! |
Jerry Homan, Manager
South Oxford Space, a project of A.R.T./ NY
|
|
