Pas de deux with Veronese at the Venice Dance Biennale

The city’s dance festival makes the most of its spectacular spaces – not least with Shobana Jeyasingh’s Outlander, which responds to the Renaissance masterpiece The Wedding at Cana

A blast of rock music shatters the ancient calm of the Campo San Trovaso, galvanising eight performers into a lunging, thrusting, stamping mesh of dance. Passing gondolas pause to stare, dogs bark, indignant seagulls swerve upwards into the sky as Emanuel Gat’s new work, Venice, reconfigures a classic Venetian scene.

Ever since Trisha Brown choreographed work for the rooftops of New York and Merce Cunningham’s company performed in sports halls, dance has been colonising new and surprising spaces. It’s partly a way of gathering different audiences to the art form, partly exploring the ways choreography works in non-theatrical spaces – blending into streets and urban crowds, framed against buildings and skylines or interacting with interiors.

Performances have been popping up in small courtyards, quiet squares, the grand salons of palazzos…

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Source: Guardian Dance News

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