The punk perfectionist’s homage to Satie, Patti Smith and Bowie packs in a range of moods from enigmatic mournfulness to stomping, dadaist revolution
Michael Clark has never quite lost his reputation as the wild child of dance. The bare-arsed campery and post-punk music that made him a cult of the 1980s still cling to his image.
But as a choreographer he’s always been a perfectionist, and even at his most superficially deviant it’s always been the small details – the quixotic angling of the head, the strict placing of the feet, the contrapuntal torsion through the body – that have created the backbone of his style.
Source: Guardian Dance News