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.
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.Posted March 17, 2017
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.
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.Posted December 5, 2016
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.Posted June 20, 2016
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.
Philip Szporer and Mark Mann review Dana Michel’s Mercurial George in conversation.Posted June 8, 2016
“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.Posted June 7, 2016
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.Posted May 31, 2016
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.Posted April 8, 2016