Word: lightness
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Dates: during 1960-1969
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...building Director James Elliott gave Staff Designer Lawrence Channing a free hand to house the Atheneum's distinguished pottery and ironwork. Channing devised pyramidal plastic enclosures which permit the pottery to be viewed from every side and eliminate light reflections-a vast improvement on the standard flat, glass-topped case. Ironwork is mounted on open, tentlike forms. To show off the unique collection of ballet costumes, triangular booths were set in surrealist space across wide expanses of floor. Thus the viewer can wander around and encounter each costume-clad dummy individually, each as isolated and unexpected as a presence...
...BORROW from Clive Barnes: AIR is beautiful. In her program notes, Lindsay Ann Course writes, "Mixed media has yet to be legitimized. Once that is accomplished. I believe we will discover that this polygamy of motion, sound, and light is the basic art of the theatre." After seeing AIR, I believe her; for the parts of her program fit together so well that you are not aware of the mixing. The dance, the music, and the lighting are not three art forms but one-which men, out of their fondness for such things, have tried to tear apart, isolate...
...joys of AIR is that it exists in the senses and the emotions. It does not have a message or need a message, because it is its own message. Peter Ivers' music fits the program brilliantly, and the lighting--by Alessandro Vitellie, Ken Chang, and Richard Strother--is nothing less than fantastic. There are times--as in the second movement when a violent, fiery red light floods the stage, then yields suddenly to a gaunt, blue, empty light--when the light seems like an ether in which the dancers exists, so closely a part of their dance, that they...
...PROGRAM is short, ending around ten, and the fourth movement--air--is less than ten minutes long. But it is the show's highlight. A cross-stage projection of red and blue light allows the two dancers--Miss Crouse and Miss Hurst--to use the depth of the stage in an extraordinary way. They move their faces and bodies in and out of the light, being and not being. This movement's score consists of music from the other three movements, recorded in an echo chamber, wailing back and forth across the stage like the turning of the spheres...
...movement to AIR. Miss Crouse did not choreograph it, but it fits so well into the program that she would be proud of it. If you go to AIR, watch for this movement: it comes during the intermission, right after Cambridge-earth, and is about ten minutes long. The lights go up, the applause trails off people rise from their seats, move around, look nervously other people, scratch their heads, light cigarettes, and start to talk. To talk and talk and talk. To move and look and scratch and light and talk so fast that they should...