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In 1994 Bill T. Jones premiered a new dance work, Still/Here, that placed onstage the images and gestures of terminally ill people who had participated in workshops he had led previously. Arlene Croce, then the dance critic for The New Yorker, reviewed the work even though she famously
refused to attend the performance. In her review she chastised Jones for creating 'victim art' out of his own and others' experiences of illness. The publication of Croce's review raised several questions about the role of dance criticism, the clash of 'high' and 'low' cultures, voyeurism
and spectatorship, and the limits of representation in dance. This article argues that Jones's work and Croce's response to it can be understood through the lens of documentary theatre methods and theories. Moreover, articulating the intersection of dance and documentary practices directly
addresses Croce and Jones's conflict over the use of the 'real' in 'art'.
Studies in Musical Theatre is a refereed journal which considers areas of live performance that use vocal and instrumental music in conjunction with theatrical performance as a principal part of their expressive language.