the new york times / gia kourlas

for movement research, a time to cast a wide net over disciplines and countires

Published: June 7, 2008

The highlight of this laboratory experiment, which sadly was sparsely attended, was “united sorry in New York: a remix of old work with new intentions, missing my partner.” Robert Steijn, performing without his frequent collaborator, Frans Poelstra (who didn’t make the trip), appeared onstage with his head covered in a piece of black lace, like a widow in mourning, his arms stretched high above his head.

A tall, imposing man with long hair and a scruffy beard who nevertheless moves with gentle, fragile grace, Mr. Steijn swiveled his hips, crashing onto the floor and rising repeatedly, muttering: “Frans always loves a lot of floor work, unfortunately. Floor work makes me always very sad.” Humor and pathos filled this solo with a startling resonance and seemed to obliterate the festival’s youthful bent. Mr. Steijn is not a young man; his presence signified that imagination isn’t owned by any generation.