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In Luke Jennings’ review of Babel and Political Mother for The Observer on Sunday 23 May 2010 he writes:
Dramaturgs are the management consultants of the dance world, comfortably digging themselves into productions before toxifying them with theory and conceptual waffle.
Raymund Hoghe — dramaturge to Pina Bausch for 10 years Andre Lepecki — dramaturge to Meg Stuart Guy Cools -– dramaturge to Akram Khan
Have these people really toxified the work of Khan, Stuart and Bausch?
I hate being critical of critics (it’s hard for it not to sound so petty) but Jennings’ comments tend to exacerbate the theory/feeling dichotomy in dance in the UK. That is, dance is either something that makes you think or makes you feel (and that the latter is preferable), and that it can’t be an experience that results in audiences slipping through and across thinking–feeling.
http://www.guardian.co.uk/stage/2010/may/23/political-mother-shechter-babel-cherkaoui
Some other writing here edited by Scott deLahunta: http://www.sdela.dds.nl/conv3/article.html
