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23 Cards in this Set
- Front
- Back
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Paul Taylor (1930 - present) |
Paul Taylor Dance Company(1954– present) Abstract (Formal relationships expressed in space and time (music/movement) ESPLANADE (1975)- filmed on a soundstage. J.S. Bach violin concertosWalking & Gesture variationsVisual Designs,SymmetryLinear and Curved pathwaysMixed facings and LevelsEntrances and Exits, Outwards
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Pina Bausch (1940 - 2009) |
Tanztheater Wuppertal Pina Bausch (1971) which performs internationally.Rite of Spring (1975) :Dirty on stage Igor Stravinsky,Vaslav Nijinsky (1913) Set design- earth Chaotic pathways Group designs (Circles and Triangles) Angular A/Symmetry |
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Pascal Magnin (1962 - present) |
Director and Screenwriter ”Reines d’un Jour” (1996) “Down the hills” Release and Contact improvisation Spirals,turns, horizontal Site specific on a mountain (relationship to gravity as a source of movement) Somersaults (sagittal plane) Jumps in “X” (vertical plane) Asymmetry Site dance plus movement helps to create meaning |
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Ted Shawn: (1891-1972)
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name of his and Ruth St. Denis’s company: Denishawn (1915-1931) All male company Movement: labor, sports, and machinery Abstract – Music visualizationJacques Dalcroze, Eurhythmics Polonaise (1923) – repetition, variation, unison, canon/round, accumulation of bodies
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Doris Humphrey (1895 - 1958) |
Humphrey-Weidman Company (1928-1944): Thematic – Social order, nature, balance/harmonyWater Study (1928)Fall & Recovery Motivation Repetition, round, unison Visual Designs (Space)ContrastGroup vs. soloSymmetry / asymmetry |
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Martha Graham( 1894 - 1991) |
Thematic: 1930s:emotions, social dynamics & 1940s: narratives of psychological drama Cave of the Heart (1946) Greek myths Inner life of heroine Set/propsPhysical relationship of characters Variations Sequence=psychology* Contraction & release |
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Merce Cunningham(1919- 2009) |
: Merce Cunningham Dance Company (1953-) Abstract Plotless Denial of intention Reflects activity of moving Stage as open field Chance procedures Solo (1953)Chance et alGestures resemble animal movement |
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Trisha Brown (1936-2017) |
Trisha Brown Company (1970-) Abstract Structured improvisation Tasks, games, aleatory Solo Olos (1976) Call/responseRetrograde, canon Accumulation w/Talking plus : Watermotor (1979) AccumulationABA |
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Thematic |
Emotion: love, hate, envy Concept: peace, death, water Narrative |
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Abstract |
Visual design / patterns/ Movement for movementʼs sake / Process / rulesCompositional Tools • Unison • Canons or rounds • Counterpoint • ABA • Retrograde • Accumulation • Mirroring • Narrative • Movement motif • PhrasingVariations: Augment, diminish, spacing, levels, tempo, invert, embellish, eliminateAccompaniment: Silence • Music • Voiceovers • Live spoken text |
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Isadora Duncan (1877-1927) |
Solos Thematic: emotions, spirituality, and social strugglesClassical music Etude Marche Slave (1918) Expressive gestures Simple movements Contrast of movement & stillness Variations, repetitions
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Oskar Schlemmer (1888-1943) |
Bauhaus artist – Painter, sculptor, designer, choreographer Architectural – Lighting effects – Costumes Sculptural, mechanical, conceal & distort Props Geometric shapes, Relationship - figure, movement, space Dances: Triadic Ballet (1922) Pole Dance Hoop Dance Space Dance Gesture Dance
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Alwin Nikolais (1910-1993 |
Dancer, designer, choreographer, composer, director Lighting - distort the stage space, illusion Props/Set/Costumes Transform the dancers Thingliness of dancers, dancerly nature of things New environments Tensile Involvement (1953) Imago: The City Curious (1963) Totem (1959) Gallery (1978) Crucible (1985)
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Merce Cunningham: (1919-2009) |
his approach to collaboration, the two dances we watched, and their premiere dates. Indeterminacy – Events Production components independent – Music – Visual Design/Set – Costumes DanceForms RainForest (1968) Antic Meet (1958) Scramble (1967) Minutiae (1954) Sounddance (1975) Video Triangle (1976) |
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Elizabeth Streb (1950) |
Streb, 1979 – S.L.A.M. (Streb Lab for Action Mechanics), 2003 Investigation of movementʼs true nature – Relationship of space, time, movement Accomplishment of tasks Manipulation of or dependence upon propsConstructed environments – Little Ease (1985) |
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Twyla Tharp (1941) |
Sinatra Suite (1984) Man leads (active), woman follows (passive) Code of touch He touches Primarily limbs, some torso contact Manipulation and display of woman Different choreography for men vs. women |
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Steve Paxton (1939) |
1972 Residency at Oberlin College Developing a duet form of dance that works with non-traditional partnering Presents a concert with students in NYC Contact Improvisation Partnering form based in lifts and falls that evolve organically out of a continuous process of finding and losing balance |
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Edouard Locke (1954) |
1980 founded LockDanseurs La La La Human Steps, 1985. Choreography: – Ballet mixed with strenuous, athletic movement – Exploration of multi-media La La La Human Sex (1985) Mix of traditional and Nontraditional partnering – Gender roles somewhat subverted |
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Llyod Newson |
DV8 Physical Theatre (1986) Choreography Break down barriers between dance, theater, and politics Commission music, set, video Enter Achilles (1995) Contact improvisation technique in choreography Masculinity & male bonding as athleticism and aggressiveness Homophobia difference in dynamics |
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Contact Improvisation Technique |
Giving and taking of weight (sharing) – Fluctuate between active vs. passive, demand vs. response. – Movement born of • Touch, balance, momentum – Democratic, asexual, gender neutral • All body parts equal • Women can lift men • Can have same sex partners. |
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Katherine Dunham (1910-2006) |
Training – Ph.B. and M.A. in Social Anthropology, University of Chicago – Ballet – Afro-Caribbean dances, Hatian Vodoun Katherine Dunham Dance Company, 1940 One of earliest all-black dance companies. Choreography Dunham technique : Ballet, some modern combined w/African-based formsAfrican cultural forms in the AmericasEssential meaning rather than authentic reproduction African-American social dances: strut, juba Afro-Caribbean dance formsBroadway and Hollywood films Revues (dance and theater)Caribbean dance rhythms w/American showbiz Lavish costumes, orchestra Dunhamʼs Choreography Barrelhouse Blues (1938)- Movement and Theme encounter in a dance hall (ʻjuke jointʼ) Florida shimmy, slow drag - Articulated pelvis, isolations, grounded Shango (1945) – Staged Vodoun ritual from Haiti Vodoun - African religion with Catholicism Sacrifice to Shango (thunder god) Possession by the lwas - Damballa (snake god) |
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Alvin Ailey (1931-1989) |
Training – Horton (L.A.) – Graham and others (New York)First concert of his choreography,1957 Alvin Ailey American Dance Theater, 1958 - Repertory company Ailey & other established artists Emerging chorographers – Multi-racial – Judith Jameson – director since 1989 Aileyʼs Movement/Choreography Choreography – Technique is a blending of the following: Horton, Dunham, Graham, ballet, jazz African-American social dances West African dance forms – African-American cultural experiences – African-American music Jazz, gospels, blues, spirituals… Revelations (1960) Three Sections, three songs each – spirituals/sorrow songs – baptism – church/gospel songsTheme – African-American religious experiences Movement – Afro-caribbean, modern, jazz Bill T. Jones (1952-) Bill T. Jones / Arnie Zane Dance Company, 1982 Last Supper at Uncle Tomʼs Cabin/The Promised Land (1990) – Intersections of race, religion, and sexuality – Opening to “The Supper” |
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Yanvalou |
undulation of the spine |
