Word: locus
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Dates: during 1970-1979
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...also discusses the role of theater in the university, or perhaps more to the point, the university in theater. The university, he writes, "remains the brightest hope not just for the preservation but also for the development of high culture in America...It enjoys a special position as the locus of youth and age, experiment and tradition, art and intellect, working process and realized results, apprenticeship and professionalism, the possibilities of the future and the heritage of the past...
...which for a long time have been in the private domain of the churches, are being taken over by governments. A few church leaders welcome this, because it releases already overstretched resources for new forms of Christian witness and service; but very many lament the loss of this primary locus of direct evangelization...
...locus this time was Sarsfield's, a bar half a mile west of the White House that sports a Gay Nineties decor and a clientele that can range, on a given evening, from Washington office workers to White House staffers, along with political powers like House Majority Leader Tip O'Neill. As Columnist Rudy Maxa told it in a short but vivid item in the Washington Post Sunday Magazine, Jordan turned up one Friday evening with some friends, introduced himself to a young woman as Harvey Phillips and tried to strike up a conversation. When the woman, identified only...
Despite the program note describing its formal structure, the formal order of "Locus" is not what matters. What matters is the larger motion--the easy motion of the dance. The spontaneity set within a precise structure and the fluidity of the improvised play with movement much like ballet, only ballet seems to have its logic built into its technique, whereas the logic in Brown's work, and in modern dance generally, comes solely from the choreographer's decisions. Brown's dance--like all great dance--touches the same deep chord: a sense of ease, freedom, spontancity, openness...
Watching the entire performance one senses the significant changes--and utterly different qualities of motion--making its different sections. The sections from "Locus," "Solo Olos," and the set improvisation are concerned mostly with the dancers' place, the moving from place to place, and the movements when the dancer loses sense of place and careens off-center...