IN THE PAPERS
Her Words, His Movement, Their Collaboration
By Claudia La Rocco
The New York Times, July 23, 2010
"Mr. Gutierrez, who creates emotionally raw, often hallucinatory worlds within his dances, layering movement, speech and song..."
Summer Stages Dance
By Claudia La Rocco
The New York Times, May 9, 2010
"one of today's most exciting dance artists."
Creations of the Offspring of ‘Orestes’
By Claudia La Rocco
The New York Times, December 20, 2009
"One of Ms. Keithley’s authors is Miguel Gutierrez, and a mention must be made of his Last Meadow, which ran in September at Dance Theater Workshop. The relentless, grand exploration of American culture saw Mr. Gutierrez reaching for new heights. His undeniable star was the stellar dancer Michelle Boulé, whose haunting portrayal of James Dean showed her to be every inch an actor as well and just might have been the revelation of the year."
Miguel Gutierrez and the Powerful People
By Eva Yaa Asantewaa
Dance Magazine, September, 2009
"His political and creative restlessness—his refusal to settle and to settle down—makes him one of our most provocative and necessary artistic voices."
A Hollywood Rebel, Reimagined
By Claudia La Rocco
The New York Times, September 17, 2009
"Miguel Gutierrez and the Powerful People explore the slick, seductive nature of film in this dark, emotionally explosive hothouse of a dance at Dance Theater Workshop."
Last Meadow explores James Dean, love triangles and the collapse of America.
By Gia Kourlas
Time Out New York, Sep 10–16, 2009
“Last Meadow (which will be performed at Dance Theater Workshop beginning Tuesday 15) takes on Dean’s seductive quality in East of Eden, Rebel Without a Cause and Giant, while also playing with the idea of a love triangle. Gutierrez, 38, spoke about his new work—his first large-scale production in two years—and his hope to create something from another world.”
THE NEW SEASON | DANCE; Leaps, Bounds, Birthdays, Despite Belt Tightening
By Claudia La Rocco
The New York Times, September 13, 2009
"This powerful, dark interrogation into an America on the verge of disaster draws on James Dean and features the knockout cast of Michelle Boulé, Tarek Halaby and Mr. Gutierrez"
Across the Country, Dancing in Solidarity for 24 Grueling Hours
By Claudia La Rocco
The New York Times, December 29, 2008
“In a way he’s saying dance can’t do anything for the world. Yet everything he does with his teaching and work says the opposite, which is: Dance can change us, and then we can change the world.” – Jesse Zaritt
Miguel Gutierrez in conversation with Eva Yaa Asantewaa
InfiniteBody, December 16, 2007
Listen to Miguel and Eva Ya Asantewaa talk about "Everyone."
DANCE | Back to the Days of Painting With Dancing Feet
By Claudia La Rocco
The New York Times, October 27, 2007
''The word doesn't somehow acknowledge the different strategies people are using to think about or create their work,'' Miguel Gutierrez explained, referring to choreography. ''If 'choreography' is simply about the arrangement of bodies in graphic space, then no, this doesn't adequately describe what I am interested in.''
Funny, You Don’t Look Dancerish
By Claudia La Rocco
The New York Times, May 20, 2007
“When I talk to people who are not in the dance world and I say I make dances, they immediately assume that I’m in a constant state of exercising,” said Miguel Guttierrez, a New York choreographer. “People think dancer equals person who moves, not artist.”
Probing the Charged Intersection of Action and Analysis
By Claudia La Rocco
The New York Times, March 3, 2007
At a time when so much art lacks a heartbeat, Mr. Gutierrez’s chest pounds. “Everyone,” his newest dance for his group, the Powerful People, is another adrenaline burst, smart and moving and full of questions, the way only real art can be.
The Listings: June 2 - June 8; MIGUEL GUTIERREZ AND THE POWERFUL PEOPLE
By Claudia La Rocco
The New York Times, June 2, 2006
"The work, above, which probes the performer's relationship to the audience, contains nudity, but far more revealing is Mr. Gutierrez's baring of his mental and emotional landscape; a shifting, fragile terrain that seems to consist equally of bravado and vulnerability."
Learning Not to Believe What You're Seeing
By Claudia La Rocco
The New York Times, December 3, 2005
"distorted, layered, looped, obscured and laid bare."