Meg Stuart's two-hour heroic epic Until Our Hearts Stop, showing at the Rotterdam Schouwburg this week, does not engage in dramatic construction according to the rules of Aristotle's Poetics. We don't know who those people are there on stage. Nor do they seem to have been given any special assignment, although they are clearly driven by desire for physical contact. The purple carpets, the sofa and the huge, wondrous ceiling recall lobbies like you ...
You can now log in to continue reading!
Welcome to the Culture Press archive! As a member, you have access to all, over 4,000 posts we have made since our inception in 2009!
(Recent posts (under three months old) are available for all to read, thanks to our members!)
Become a member, or log in below: