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Modern Dance Company Survival Rates Since the 70s


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#31 sandik

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Posted 10 March 2015 - 11:52 AM

How fun to see this thread come back to the surface!

 

I didn't mean to imply that there was no Graham technique, just that Graham herself didn't want to make one.  She developed the movement principals, in the process of created her repertory.  She didn't really want to make a technique so much as she was compelled to find the way she thought she should dance, and, when she began to work with other dancers, she had to communicate those ideas and teach that material.  It gradually became something like a technique, especially after she started participating in workshops like the Connecticut College summers (that became the ADF).  Some of her early dancers (like May O'Donnell) were also integral to that process.

 

Think about it in contrast to someone like Doris Humphrey, who set out to make a complete technique, separate from ballet, but equal to it in its comprehensive nature.  That's the tradition that Limon was first trained in, and it forms the bedrock of what we think of as Limon technique today.

 

(I miss Murray Louis's work too, and Alwin Nikolais.  Those repertories seem to be slipping away even faster than the Limon and Graham works)



#32 miliosr

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Posted 11 March 2015 - 04:17 PM

(I miss Murray Louis's work too, and Alwin Nikolais.  Those repertories seem to be slipping away even faster than the Limon and Graham works)

 

I saw the Ririe-Woodbury company perform a full program of Nikolais works in February 2007.  Looking at the Ririe-Woodbury site now, though, I don't see that they are performing any Nikolais works in 2014-15.

 

I would put both the Louis and Nikolais works in the defunct or near defunct categories.  Comparatively, the Limon and Graham works are still readily available.  (How well anyone can dance the Graham works without Graham in them will forever be a matter of debate, though.)



#33 sandik

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Posted 11 March 2015 - 10:00 PM

I know that the Nikolais and Louis alumni still communicate, and I hold out hope for more stagings of the work, but yes, I noticed that Ririe-Woodbury weren't doing anything from that rep this year.



#34 miliosr

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Posted 07 March 2016 - 04:26 AM

Article discusses the Stephen Petronio Company's revival of Glacial Decoy:

 

http://www.nytimes.c....html?ref=dance



#35 sandik

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Posted 07 March 2016 - 10:05 AM

I liked this description so much:

 

"When asked to 'be nuttier,' the dancer Emily Stone hesitated. She was rehearsing a section of Trisha Brown’s 1979 'Glacial Decoy' with guidance from Stephen Petronio, who wanted to recapture the full abandon of the original, or at least his memory of the original.

 

'Try making a sound when you do it,' said Mr. Petronio, who never danced in the work but had seen it countless times in rehearsal and performance. Ms. Stone flung her arms out in front of her, letting them jangle along with the vibrations of her voice. What had looked tentative a few minutes ago now looked electric, a little cyclone sweeping through the studio. Mr. Petronio approved."



#36 sandik

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Posted 07 March 2016 - 10:11 AM

And in the way that the internet shows you things, when I was reading the NYT piece on Stephen Petronio's company, I saw a notice for a performance of Anna Sokolow's work -- now there's someone we really don't hear much about any more.



#37 miliosr

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Posted 07 March 2016 - 03:51 PM

Yes! I saw that little piece about the Sokolow performances as well. An interesting repertory to be sure:

 

Steps of Silence (1968)

Ride the Culture Loop (1975)

Kurt Weill (1988)



#38 miliosr

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Posted 17 March 2016 - 03:36 PM

I was hoping the Times would review the Sokolow performances but I guess the preview will be the extent of it.

 

I did see these reviews:

 

Joel Benjamin:

http://www.theatersc...e/joel-benjamin

 

Mary Cargill:

http://www.danceview...used-to-be.html

 

Deborah Jowitt:

http://www.artsjourn...ows-dark-spirit



#39 sandik

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Posted 20 March 2016 - 09:24 PM

Thanks for the collection -- I'd lost track of the thread



#40 miliosr

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Posted 21 March 2016 - 03:08 PM

Thanks for the collection -- I'd lost track of the thread

Alas, I don't think Sokolow's brand of dance theater is long for this world. Jim May has tried to keep it going but his insufficient financial means only allow for short annual performances in New York. There's no financially stable successor company comparable to those of Ailey, Graham and Limon, and there's no 'Sokolow Technique' that can be methodically taught as there is with Cunningham, Graham and Limon. (Interestingly, I think this is a problem that Sokolow shares with Tricia Brown.)



#41 sandik

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Posted 21 March 2016 - 10:04 PM

It's ironic, since Sokolow was herself involved in a couple of different projects that attempted to create a repertory archive for modern dance, but they just don't seem to have had enough success.  I'm curious to see what happen with the Taylor project, but even if it were a roaring success, it's not enough.




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