Word: modern
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Dates: during 1960-1969
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YOUR OWN THING adds beat to the Bard as it madly mixes media, and mischievously juxtaposes Elizabethan and modern attitudes for a grooving replay of Twelfth Night...
...scene that is symbolic of new directions in modern dance, Astarte, the moon goddess, writhes in passionate triumph over the spent form of the mortal who seduced her. The action is bathed in lights and film images that glide, collide and dissolve in a psychedelic pattern to the crash of rock rhythms. This ascendant moment in Robert Joffrey's ballet Astarte appears on the cover of this issue almost exactly as it is seen by audiences. To capture the moment, Photographer Herbert Migdoll photographed the dancers, Trinette Singleton and Maximiliano Zo-mosa, during a performance. Then at another performance...
...PAUL TAYLOR, 38, is a tall, block-shouldered Tuned-in from Pittsburgh who spans the gap between classical and modern like a colossus. He had his fling at the far-out, once stood stark still onstage for four minutes (Dance Observer responded by running a review that consisted of four inches of blank space). But today he also has a bit of Mr. B. in his,bonnet. Aureole is a freshly pressed version of a washed-out, frilly "white ballet," in which his dancers interweave flurries of mincing steps with great swooping glides without a seam showing. In Orbs...
...modern-minded National Ballet of Washington, D.C., performed 26 different dances last year while building its season to 94 performances. During its 45-week season, the Utah Civic Ballet plays to an audience of more than 90,000. Like many regional troupes, the Cincinnati Civic Ballet, which has 475 students presently in its school, imports such stellar guests as the New York City Ballet's Violetta Verdy and Edward Villella. It is only fitting. As part of a vast farm system for the larger companies, Cincinnati supplied Balanchine with his reigning ballerina, Suzanne Farrell...
...delivered the first comprehensive statement of his new perspective in a three-part lecture series at Harvard on "The Secular Search for Religious Experience." In his first two talks, he dwelled on what he called the root problem of contemporary religion-the "immolation of history," or the tendency of modern man to rebel against his past. The rejection of history, Cox argued, not only throws out the good of tradition with the bad, but "can result in a corrosive contempt for the present." In his third lecture, entitled "Christ the Harlequin"-appropriately accompanied by psychedelic strobe lighting and calliope music...