THE WASHINGTON POST – by Sarah Kaufman
“Unlike many dance documentaries, “Paul Taylor: Creative Domain” doesn’t fetishize every aspect of the dancer’s day. It zeroes in on a mystery.
The mystery is how Taylor, one of the greatest modern-dance choreographers, uses a simple formula of people plus time to make a work of art that pulls you in like an undertow.”
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THE NEW YORK TIMES – Critic’s Pick by Rachel Saltz
NYT-Critics-Picks“We see the hard work, of course, but also the practical solutions to practical problems, as Mr. Taylor moves bodies this way and that, giving simple commands. Through it all, Mr. Taylor’s creative mysteries remain intact; a master of the casual and the vernacular (a good way to learn about movement, he says, is to watch football halftime shows), he nonetheless approaches the mystical.”
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THE NEW YORKER – by Joan Acocella
“…Taylor’s candor, his willingness to voice his misgivings, is one of his lineaments. As he said, none of this is comfortable: the dance, the job, the life.”
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VILLAGE VOICE – Critic’s Pick by Diana Clarke
TVV-Critics-Picks“A dance is not only motion, but emotion. This fascinating film reminds us how closely the two are linked.”
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OUT MAGAZINE – by Armond White
“Director Kate Geis’ clear observation at Taylor’s bright Grand Street Studio in New York makes Creative Domain more than a dance doc. Taylor’s creation of a new piece titled Three Dubious Memories virtually diagrams how one generation passes on its wisdom about the body, the mind, relationships and imagination.”
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CRITICAL DANCE – by Jerry Hochman
Paul Taylor: Creative Domain, directed by Kate Geis, is not a fly-on-the-wall film like the recent Ballet 422, which allowed the viewer to sit in on the creation of New York City Ballet’s 422nd ballet by Justin Peck. Rather, it’s a documentary that’s part intrusive camera, part cinéma vérité, and part interviews and narrative, all assembled creatively and coherently. Unlike Ballet 422, where NYCB’s grand scale is broken down to its component parts to illustrate the evolution of one new ballet, Paul Taylor: Creative Doman is small scale and intimate. Its focus is not on the ingredients that go into creating a new ballet (although they’re included), but on the ‘how’ and the ‘why’ of Taylor’s creative process.”
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CRIXIT – by Cassandra Hsiao
Paul Taylor: Creative Domain makes me want to be a better artist in every way possible.”
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EPHEMERALIST – by Susan Yung
“It’s fascinating, and we are shown just how painstaking it is to create a complex 20-minute plus dance.”
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DANCE MAGAZINE – by Madeline Schrock
“My favorite moments of the documentary were instances when Taylor revealed small secrets of his work.”
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DANCEBEAT: An Arts Journal Blog – by Deborah Jowitt
“The film quickens memories in anyone who has ever danced professionally. “Yes,” we say to ourselves, “that’s how it felt, that’s how we coped; remember that kind of sweat?” For the uninitiated, the interplay of labor and inspiration may come as a surprise. A dance gets hammered out, made to fit, and polished to beauty like a shoe made by a master cobbler.”
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NEW YORK TIMES – by Alastair Macaulay
“…we’re shown what the camera has seldom been able to record: a great choreographer at work on a new piece…
‘Three Dubious Memories’ had its premiere in 2010; when the Taylor company next revives it, I shall watch it differently with the information gleaned from this documentary.
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STAGEBUDDY – by Hanna Oldsman
“Watching his work with the dancers is fascinating — he is focused and serious but good-humored — and the interviews with the dancers about their relationship with him and the work is enlightening.”
…”it is an intriguing piece of choreography — quite different from much of his work. And the opportunity to witness its creation is a privilege.”
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