|
the
New York manufacturer of fine dance apparel for women and girls. Click here to see a sample of our products and a
list of web sites for purchasing.
With Body Wrappers it's always performance at its best.
|
Go back to Flash Reviews
Go Home
Flash
Review 1, 2-20: Merce, Encountered
Feting the 50th on the Coast
By Aimee Tsao
Copyright 2003 Aimee Tsao
BERKELEY -- For months,
I had been ruminating over how I would write about the Merce Cunningham
Dance Company's 50th anniversary season at Berkeley's Zellerbach
Hall in the beginning of February. A few days before the company
opened here, the New Yorker magazine ran an article, "Dancing in
the City" by Alma Guillermoprieto, which captured the life of a
young dancer in New York City in the late sixties with anecdotes
about Merce and Twyla Tharp. While the details of my own experiences
in the same time and place were significantly different, the essence
was not and I felt I needed to change the direction and shape that
my article had begun to take. When I read all the pieces in my press
kit, I decided I absolutely needed to find another un-autobiographical
angle. I didn't want to seem to be following the crowd. But then
Paul Ben-Itzak reminded me that all of the Dance Insider's readers
won't have read all the other articles and I decided to forge ahead
with bits of my own life vis-a-vis Merce, John Cage, and the rest
as sometimes no other means of explanation is as precise, and also
by way of revealing the origin of my differences in perception.
I grew up in Ann Arbor,
where the University of Michigan attracted many artistic types.
In 1959 my parents rented a house to Robert Ashley, then an obscure
electronic music composer. As a result of the ensuing friendship
between landlord and tenant, I was frequently taken along to all
manner of concerts, happenings, light shows and multi-media events
sponsored by the ONCE Group, a collection of avant-garde composers,
musicians, visual artists, film makers and performers. As a young
teenager I remember seeing Alex Hay, Deborah Hay and Steve Paxton
dance on the roof of a municipal parking garage. And since I also
studied ballet, attended performances of many assorted dance companies
on tour, went to hear live classical music and lingered in art museums,
I had a well-rounded arts education. The key here is that at the
time I was unaware that I was being exposed to a much wider slice
of the arts pie than most of my peers, or other adults who are knowledgeable
about culture. It was all art to me. Historical perspective wouldn't
arrive until years later.
The first time I saw
the Merce Cunningham Dance Company perform was in New York City,
where I lived from 1967 to 1970. Gordon Mumma, a family friend from
Ann Arbor, also of the ONCE Group, had joined MCDC as a musician
and he often invited me to see the company and also set about introducing
me to the work of other avant-garde performers.
Fast forward 33 years
to the current 50th anniversary season of the company. I am going
to see two evenings of repertory, including the American premiere
of "Fluid Canvas" (see Josephine
Leask's review) and four films of dance on camera by Cunningham,
Charles Atlas and Elliot Caplan. I am battling a strong feeling
of ambivalence, which will be explained as I delve into the history
of this dance troupe. And like most people I know right now, I am
depressed by the state of the world. Decidedly not the best state
of mind to be objective, discriminating and analytical..
The Pacific Film Archive
and Cal Performances are jointly presenting the films: "Story" (1964)
shot in Helsinki during a performance, then "Coast Zone" (1983),
"Beach Birds for Camera" (1993) and "Melange" (2001) all made as
films using dance and not just documenting choreography. Merce slowly
walks to the podium with the help of a cane and the shoulder of
an assistant. It is painful to see his body so crippled by arthritis.
I remember him moving with such fleetness and intricacy, so idiosyncratically
delightful that he could make my evening during an otherwise less
than exciting performance by the rest of the company. Yet he is
so present, and mentally concise and focused, that I am somewhat
consoled. He speaks softly, gently, explaining that to be on tour
in Berkeley is not performing just anywhere, but "to meet again
with friends". He speaks of his work with film and I think back
to a time when I wrote him a letter. I had just gotten back from
a summer dance tour in France and had a dream that I was riding
in a van through the French countryside with Merce at the wheel.
When I woke up I wondered if I should write Merce, since I didn't
really know him and it seemed like a presumptuous idea. To make
the decision, I did the Cunninghamian thing and threw the I-Ching.
It said yes. So I wrote him about dreaming I was on tour with his
company and asked him what he was doing these days. I was more than
surprised when I received a reply. He said he was learning to use
a video camera because it seemed easier for him to do that so he
could get the shots he wanted than it would be to train a cameraman
to dance. I come back to the present moment and he explains the
differences between dance for stage and dance for camera. With stage
the audience has a fixed point of observation and the front of the
stage appears wider while the back appears to narrow. With the camera,
one's point of view can move constantly at varying speeds or stay
still and what is closer is in a narrower field, and farther away
objects or dancers have a much broader field. He says that in film,
as a choreographer, you cannot repeat phrases of movement too many
times because for some reason the viewer tends to remember the sequences
better.
"Story" is not of very
high visual quality, very grainy and slightly blurry. However, despite
that faces are indistinct, I find I can recognize dancers by their
individual movement inflections. Carolyn Brown, Viola Farber, Valda
Setterfield, Barbara Lloyd (now Barbara Dilley), Sandra Neels, and
Merce himself, all have their own unique unmistakable body language.
Suddenly I remember why I had loved this company so much in the
late sixties and early seventies. The dancers imbued the movement
with their own personal expression, and by that I don't mean they
tried to express something external, an idea or an emotion, but
rather that they executed the same movements in their own different
voices. David Vaughan, MCDC archivist for over forty years, provides
commentary as well and relates that Robert Rauschenberg, who created
a new set with found objects at each performance, also provided
costumes which consisted of duffel bags of clothes in the wings
that the dancers could don or remove according to whim. In Tokyo,
Barbara Lloyd put them all on and appeared as a giant moving bundle
of fabric.
The last dance film
that Cunningham made with Charles Atlas is "Coast Zone." Though
I sometimes weary of the dancers' delivery (Louise Burns excepted,
as she still has that individuality I mentioned before), the movement
of the camera is mesmerizing. It's as if it is a dancer itself the
way it passes dancers moving in the opposite direction, or rushes
toward a body or circles a group of dancers. As with "Story," I
see more and more clearly how very balletic Cunningham's choreography
is. Certainly not in the port de bras, but most of the lower body
vocabulary consists of arabesques, attitudes, extensions to the
front and side -- not turned in, a la Graham, but fully rotated
outward -- tendus, promenades and grand jetes. It is simply elegant
in its purity.
"Beach Birds for Camera"
is in two parts. The first is in black and white, gorgeously backlit
by a wall of small-pane windows that creates an ambience of the
lightness and openness of being outdoors. The second part is in
color in a studio without visible windows, and in contrast seems
closed in. Oddly, Cunningham uses small circles of dancers that
remind me of the white acts of "Swan Lake," and a moment of quivering
feet like Odette in the pas de deux. I suppose that he and Petipa
had observed some of the same traits of birds in groups. The costumes,
unitards with white legs extending to below the bust and black bodices
with arms covering the hands, evoke an avian quality without being
species specific. The highlight for me is a very long section where
a man stands in arabesque facing straight into the camera, his face
to the floor, undulating his arms, and moving them together in front
of his chest and back out, like a bird in flight, soaring then slowly,
strongly propelling himself with his wings.
The six minute "Melange"
is just that, a real mixed bag of outdoor footage, in the studio,
lots of different costumes and atmospheres. To see the four films,
spanning nearly 40 years, gives an instant perspective of what changes
and what remains the same in Cunningham's work. The costumes and
lighting reflect the changing aesthetics and fashions of the times,
while the choreography itself grows more complex. His underlying
philosophies, that dance is just the movement and the disconnect
between dance and music, are still evident. Personally, I like the
older simpler pieces. I remember seeing Jon Neumeier's "Swan Lake."
The second act, the original Petipa version, is done as a private
performance for the Prince. The stark contrast between Neumeier's
choreography for the first act and the classical purity and simplicity
of the Petipa made me love and appreciate the "less is more" approach.
With Cunningham's work I feel the same way.
The next night, Friday,
I see live performances. "Suite for Five" (1956-58) to John Cage's
"Music for Piano" played by Christian Wolff, with costumes by Rauschenberg
and light by Josh Johnson, opens the program. I am struck again
but the balletic quality and the simplicity. Holly Farmer and Ashley
Chen do an exquisite pas de deux and together with Jennifer Goggins
restore my faith that the company again has dancers who make the
movement their own, like 35 years ago. Sitting in the dark watching
this non-narrative, abstract piece gives me a respite from the highly
charged and overly complicated world outside.
"MinEvent" with the
Kronos Quartet is the big draw and the house is nearly full. Using
"Thirty pieces for String Quartet" (1983) written for the Kronos
Quartet by Cage, and decor by Rauschenberg for "Immerse" (1994),
Cunningham has put together a smaller version of one of his Events,
which are combinations of various elements -- choreography, music
and decor -- that are specifically assembled for a specific time
and place. In this case, the choreography comes from new material,
"Ocean," "Installations," an American Express "Event," and "Scenario."
The Kronos players are seated one each downstage right and left
and also on each side of the grand tier. It whole thing doesn't
quite gel and I try to enjoy the separate elements. I am intrigued
by some of the dancers, particularly Mandy Kirschner, Koji Mizuta
and Derry Swan in addition to Farmer, Chen and Goggins from the
first piece.
|
Jean Freebury
and members of the Merce Cunningham Dance Company in Cunningham's
"Fluid Canvas." Tony Dougherty photo courtesy Cal Performances. |
The evening closes with
the U.S. premiere of "Fluid Canvas" (see Josephine
Leask's review of the world premiere). I find myself distracted
by John King's "longtermpiano" as it loudly moves around the space
thanks to "surround sound" and realize I am missing the dancing
while focusing on "Lifelike" the background computer-generated motion
capture projections created Marc Downie, Shelley Eshkar and Paul
Kaiser. Fortunately, the next night I see this piece again (though
given the nature of Cunningham's work using chance procedures, it
is a different piece), and the novelty of the background and music
have worn off enough that I concentrate closely on the dancing.
Saturday I run into
Gordon Mumma in the lobby. I haven't seen him a couple of years
and we catch up on each other's news before we start reminiscing
about the company and old times. I say that in "Suite for Five"
you can tell which roles were originally danced by Carolyn Brown
(one of my personal idols and role models) and Merce by the shape
of the choreography. He adds that there aren't too many people any
more who have been around long enough and are familiar enough with
the first generation dancers to notice. The program consists of
two old works and "Fluid Canvas." "Pictures"(1984), to David Behrman's
"Interspecies Small Talk" with decor and costumes by Mark Lancaster
and lighting by Josh Johnson, soothes me in the same way that "Suite
for Five" did the previous night. The best ending for this season
is "How to Pass, Kick, Fall and Run" (1965). With Merce himself
and David Vaughan reading stories from John Cage's "Silence," "A
Year from Monday" and elsewhere, I recall Cage's own reading with
Vaughan. Merce displays his quirky yet impeccable timing and the
dancers continue to delight me. I am grateful for this development
as I spent all those intervening years being continually disappointed.
Though the dancers executed the steps technically well, they somehow
had misinterpreted the idea of dance without emotion to mean dance
without nuance. Merce had always practiced what he preached and
it's good to see that even though he is no longer dancing, dancers
in the company are now running with the baton he has passed on.
Go back to Flash Reviews
Go Home
|