Mondays-Wednesdays 2-4: 00 pm, Amherst College

YouTube: Anna Halprin and Anne Collod @ MCA Stage

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YouTube: Anna Halprin and Anne Collod @ MCA Stage

Breath Made Visible (2010) whatever images available about this documentary

September 22: Judson Dance Theatre

methods and materials ? major themes? What is being challenged?

What is a dancer? What makes a dance?


Sally Banes, “A Concert of Dance at Judson” (Democracy’s Body , 35-70)
Assignment: Quick Takes Judson Experimental Works Due September 27, 29
Concert #1 (6 July 1962)

Ruth Emerson, Shoulder

Fred Herko, Once Or Twice a Week I Put On Sneakers to Go Uptown

Steve Paxton, Transit and Proxy

David Gordon, Helen’s Dance and Mannequin Dance

Deborah Hay, Rain Fur

Yvonne Rainer, Divertissement, Ordinary Dance, Dance for Three People and

Six Arms

Concert #2 (31 August 1962)

Elaine Summers, Suite and Instant Chance

Ruth Emerson, Narrative

Elaine Summers, Newspaper Dance

Ruth Emerson, Timepiece

Trisha Brown, Trillium

Concert #3 (29 and 30 January 1963)

Yvonne Rainer, We Shall Run

Ruth Emerson, Giraffe

Carol Scothorn, The Lararite

William Davis, Field

Steve Paxton and Yvonne Rainer, Word Words

Yvonne Rainer, Three Seascapes

Carolee Schneemann, Newspaper Event

Trisha Brown, Lightfall

Huot-Morris, WAR

Judith Dunn, Index

Lucinda Childs, Pastime

Deborah Hay, City Dance

Arlene Rothlein, Seems to Me There Was Dust in the Garden and Grass


Beyond the Mainstream (1980)
September 27: Judson Experiments:

Averting the Gaze & Intellegent (female) Bodies That Speak

continued examination of 60s experimental works that reflect themes of counterculture and pro-feminism; autobiography, structures, spliced compositions, talking and moving; when are you aware that gestures are being repeated?; how is repetition used in the composition process and what is the effect on the viewer?; how does the structuring of accumulated gestures and movements engage and/or disengage the viewer?


Sally Banes, “The Judson Workshop” (DB85-106) and “The Plot Thickens”

(DB120-121, 126-128)

Yvonne Rainer, “The Mind is a Muscle” and “No to Spectacle”

No to spectacle no to virtuosity no to transformations and magic and make believe no to the glamour and transcendence of the star image no to the heroic no to the anti-heroic no to trash imagery no to the involvement of performer or spectator no to camp no to seduction of spectator or by the wiles of performer no to eccentricity no to moving or being moved…
Trisha Brown, “I, I want, I want to, I want to give, I want to give my…”;

“Accumulation With Talking Plus Watermotor, 1979” ;

Susan Foster (on Trisha Brown), “Speech As Act: TB’s Accumulation…”
The first third of the class will be presentations of Quick Takes on the works of the following experimentalists, commenting on methods and materials and major themes; and possible proto-feminist works critiquing the status quo, romantic, and emotional:
Yvonne Rainer “Love section of “Play” from Terrain (1963)
Simone Forti See Saw and Rollers (1960);

Slantboard and Huddle (1962)

No. 3 (1966) see Simone Forti, Handbook in Motion

Deborah Hay Three Here (1964)

Group I and Group II (1967)
Lucinda Childs Carnation (1964)

Geranium (1965)

Carolee Schneemann Eye Body (1963)

Meat Joy (1964) [See YouTube excerpts of Meat Joy]
The remainder of the class will focus on the works of Trisha Brown and Yvonne Rainer which avert the gaze and propose intelligent (female) bodies that speak

Yvonne Rainer, “Trio A” (1966) from The Mind is a Muscle (1966)
Trisha Brown: Homemade (1966)

Roof and Fire (1973)

Man Walking Down the Side of a Building (1970)

Leaning Duets (1970)

Walking On The Wall (1971)

Accumulation (1971)

Primary Accumulation (1972)

Group Primary Accumulation (1973)

Accumulation(1971)With Talking(1973)Plus Watermotor (1978)

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