Search Details

Word: cunninghams (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

Varisty Record--3-0 HARVARD LIGHTS LINEUP Cox Mark Howe Stroke Kevin Cunningham 7 John Pickering 6 Jeff Parker 5 Bill Chapman 4 Phil Lowry 3 Chris Kennedy 2 Don Harding bow Jon Adams...

Author: By Cracker Jack, | Title: The Crimson Sports Scoreboard | 4/28/1977 | See Source »

...William Cunningham Providence...

Author: /time Magazine | Title: Letters, Mar. 28, 1977 | 3/28/1977 | See Source »

Laura Dean is considered a "post-modern" choreographer. Although she and her peers carry forward many of Cunningham's ideas, they diverge from the master's path in significant ways. While Cunningham never directly collaborates with composers--occasionally his dangers do not hear the sound accompaniment until opening night--Dean for several years worked closely with musician Steve Reich, and now composes her own music. She's intersted in showing how dance and music connect at the deepest level: in the use of the physical self as instrument. Unlike Cunningham, who exploits the illusion of randomness by splaying dancers around...

Author: By Susan A.manning, | Title: Translating Feeling Into Movement | 2/23/1977 | See Source »

Mathematics, rather than Cunningham's chance or game structures, underlies Dean's work. A frequent device is the repetition of sequences in units of arithmetical progression. For instance: 64, 32, 16, 8, 4, 2, 2, 4, 8, 16, 32, 64. Dean systematically explores the stage space using the most basic configurations: circles of varying breadth, columns and lines, an occasional diagonal. Clarity, precision--some viewers would say transcendence. Like a minimalist painter, Dean discovers meaning in subtle variations and trans-formations of repeated units. They are simple units immediately accessible to perception: one section consists of spinning, another of jumps...

Author: By Susan A.manning, | Title: Translating Feeling Into Movement | 2/23/1977 | See Source »

...funny thing is that recent Cunningham pieces have a similar look, the same precise repetition of unison movements. (As in music, repetition is a fundamental structural principle in dance--sometimes it's buried, other times exposed on the surface.) Why Cunningham, an older artist working directly from his own sensibility, has come to the same sorts of dance ideas as a younger generation of choreographers--which he in the first place inspired--is a puzzle critics seek to explain. Each era, each time has its invisible current--a pulse the significant artist fuses with...

Author: By Susan A.manning, | Title: Translating Feeling Into Movement | 2/23/1977 | See Source »

Previous | 158 | 159 | 160 | 161 | 162 | 163 | 164 | 165 | 166 | 167 | 168 | 169 | 170 | 171 | 172 | 173 | 174 | 175 | 176 | 177 | 178 | Next