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Contributor

Mark Mann

Contributor

Mark Mann is a freelance writer based in Toronto. His essays, reviews, and feature journalism have appeared in The Walrus, The Globe and Mail, The Toronto Star, Reader’s Digest, Maisonneuve, and This Magazine, among others. He also writes extensively for online outlets, such as Torontoist, Blouin ARTINFO, and Momus. 

Mark Mann's Work

Dance artists and faculty, including Adi Salant, Tilman O’Donnell and Jermain Spivey, in the studio during Banff Centre’s Creative Gesture residency / Photo courtesy of Banff Centre
 

Fundamental Questions

How conflicting ideas about the goals of a mature dance collaboration derailed Banff Centre's Creative Gesture Residency in 2016 By Mark Mann

In July of 2016, Banff Centre ran a residency designed to answer the need for professional development opportunities for mid-career dance artists. By the end of the program, only five of the original ten participants remained. This is what happened.

The Great Divide

By Mark Mann

The role of professional training and skill in dance is one numerous dance artists consider as they use pedestrian movements in their work and engage non-specialists to perform. In this feature, artists discuss how they understand professionalism and what is gained and lost by letting it go.

 

More of the Same Strange Forever

Fractals of You by Tentacle Tribe By Mark Mann Fractals of You

Fractals of You takes both its title and primary fascination from the phenomenon of similar patterns repeated at every scale – macro or micro, a fractal looks the same.

 

A Wild Way Home in Le Petit Prince

Choreography by Guillaume Côté By Mark Mann Le Petit Prince

Le Petit Prince is both a perfect and a problematic choice. Perfect because the story is already furnished with all the necessary components for a conventional ballet, and problematic because Le Petit Prince is actually a dark and confusing book.

Crooked Movement

The Playful Existentialism of Frédérick Gravel By Mark Mann

Considered one of the most exciting voices in Montréal’s dance community, Frédérick Gravel seeks to maintain the signature electrified atmosphere of his live performances while pushing in other directions.

Crooked Movement

The Playful Existentialism of Frédérick Gravel By Mark Mann

Considered one of the most exciting voices in Montréal’s dance community, Frédérick Gravel seeks to maintain the signature electrified atmosphere of his live performances while pushing in other directions.

 

Haunted by the Real in Dana Michel's Mercurial George

Festival TransAmériques 2016 By Philip Szporer, Mark Mann Mercurial George

Philip Szporer and Mark Mann review Dana Michel’s Mercurial George in conversation.

 

Mille batailles

Festival TransAmériques 2016 By Mark Mann, Philip Szporer Milles batailles

“Dance is physical combat most of the time,” wrote Louise Lecavalier in the notes for Mille batailles, a ferocious new work by the legendary Montréal choreographer and dancer at Festival TransAmériques.

 

The Black Piece by Ann Van den Broek

Festival TransAmériques 2016 By Mark Mann

When the lights go down at the beginning of The Black Piece by Ann Van den Broek, they stay down. True to the title, the Dutch choreographer plunges both the audience and the performers into obscurity and leaves us there. The darkness isn’t perfect – exit signs and stair lighting reduce pitch-blackness to deep shadows – but it is enveloping, and surprisingly electric.

 

La Démarquise

Louise Bédard Danse By Mark Mann La Démarquise

Rite of Spring makes an appearance in Louise Bédard’s new work La Démarquise. It’s a small reference, delivered with a wink about a quarter of the way through the 110-minute performance – one of a handful of references to canonical works of art woven into this show.

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