...Nancy Kauffman Merce Cunningham, Actor By Nancy Kauffman “An is intelligence functioning at intuitional velocity.” -c. e. cummings “Dance is a spiritual exercise in physical form.” -Merce Cunningham Composer John Cage tells this story about company’s 1966 trip...

... to. But which ones? Watch this space. 12 Theater 40:1  doi 10.1215/01610775-2009-012 13 © 2010 by Joseph Roach 14 15 16 17 Merce Cunningham (1919 – 2009) 18 Pina Bausch (1940 – 2009) 19 20 Miriam Felton-Dansky, Jacob Gallagher-Ross, and Tom Sellar 21 22...

... © 2004 by Yale School of Drama/Yale Repertory Theatre 2004 Four Key Discoveries Merce Cunningham Dance Company at Fifty A discussion with Carolyn Brown, Merce Cunningham, Laura Kuhn, Joseph V. Melillo, Thecla Schiphorst, and David Vaughan The following discussion was held...

...). II. Nikdais and Cunningham: En-SoiPour-Soi If it seems ironic that I've discussed "Post-modernism" with barely a reference to dancers or the human body, therein lies the irony and extremity of post-modern dance. (At the "First New York Theatre Rally" held...

... filmmaker, writer, lecturer, and teacher in around the categories of music-theater, sound the United States and Europe. She was a installation, and conceptual art. He was the principal dancer with the Merce Cunningham musical force behind GAle GAtes from 1996 Dance Company for twenty years...

... “No Boundaries” will be back next season, 10 even though many of the old boundaries still remain, and some of them probably ought 11 to. But which ones? Watch this space. 12 Theater 40:1  doi 10.1215/01610775-2009-012 13 © 2010 by Joseph Roach 14 15 16 17 Merce Cunningham (1919 – 2009...

... to. But which ones? Watch this space. 12 Theater 40:1  doi 10.1215/01610775-2009-012 13 © 2010 by Joseph Roach 14 15 16 17 Merce Cunningham (1919 – 2009) 18 Pina Bausch (1940 – 2009) 19 20 Miriam Felton-Dansky, Jacob Gallagher-Ross, and Tom Sellar 21 22...

... has I must say that with this Cunningham proj- to adopt the persona of the visual artist who ect there is a lineage between Cunningham can sell his products, because you can repro- the performer that is framed as a short cir- duce a sculpture or a film. In our case, creat- cuit, because I didn’t...

... threads running through the books, some authors also raise philosophical questions regarding the practice of collective creation. For example, how collaborative should collective creation be? In his essay about John Cage and Merce Cunningham, Michael Hunter describes a creative process that involved...

... Merce Cunningham once said, “If you want to express yourself, go weave bas- 35 kets.” What? Is basket weaving any more expressive of self than what I’m doing right 36 now? How does one express one’s self? Am I doing it now? Or am I expressing a conun- 37 drum — and not my self — that has...

... Group and Performing Arts Journal Publications. He con- T.R. Burnharn 6 ceived, adapted and directed The Gospel at Colonus, with Billy Cunningham 74 original gospel music by Bob ‘Rlson, and the musical has been Charles Fredericks 5,7,8,9 televised nationally on the PBS series, “Great...

... Group and Performing Arts Journal Publications. He con- T.R. Burnharn 6 ceived, adapted and directed The Gospel at Colonus, with Billy Cunningham 74 original gospel music by Bob ‘Rlson, and the musical has been Charles Fredericks 5,7,8,9 televised nationally on the PBS series, “Great...

...- 2 up front hierarchical community. Merce Cunningham, John Cage, and Robert Rauschenberg formed a company there, experimenting with sound, light, and movement and with intersections among forms. Presenting local artists and publics...

..., José Limon, Alvin Ailey, and Merce Cunningham, even presentations by companies using contact improvisation or pedestrian vocabularies, were all beginning to look more and more alike. I connected this homogenization of appearance to new regimens of training in which all dancers had begun...

... that this exchange deeply characterized one imagines Merce Cunningham walking under- the meaning of the play, Wilson’s response was: water. “That’s exactly why I want to cut it He pre- But when the play begins, we are immediately ferred, rather, complete disinterestedness...

... of but-unapproachable Cunningham “appropriation” and “quotation” have authorial intention, particularly when dancer) and contemporary street undermined the idea that artworks the author is still alive and kicking, culture (two manic, robotic breakers can or should originate wholly within bumps up...

... forms, and you will find them in the work of dancers like Merce Cunningham, often to music by John Cage or other avant garde composers. This sort of dance does away with all traditional forms, and is usually abstract insofar as the human body can be made...

... residence to direct the American premiere of Artaud at Rodex. of the Living Theater, the Open Theater, Cage and Cunningham The interview was conducted by Don Shewey. and everybody else. It was the abstract writing which, in fact, can...

... with that Molly Cunningham Kimberly Scott stick and now he's dancing around. I know Martha Pentecost Angela Bassett ACT ONE he'd better...

... York Live Arts in the relationship between the performer and the choreographer-­as-­author practiced in more conventional dance. As Collod, trained mainly in the Cunningham technique, notes in an assemblage of texts by Quatuor’s founders, “Recreating movement from dance texts considerably...