4.5/ 5stars
(Android) German Language Tubeplus Writed By Alla Kovgan Cunningham Imdb Id Tt8574836
*
Cast John Cage. Writers Alla Kovgan. Countries Germany. Year 2019. 6,5 of 10 star. Cunningham hodiny. Vegan leather cord. Cunningham school. Cunningham peaches. Vegan leather rings. Cunningham park. Cunningham highway. Cunningham funeral home colbert ok. Cunningham and associates. Cunningham funeral home kilgore texas.
Cunningham texas. Cunningham elementary austin. Cunningham elko nv. Cunningham tn.
Cunningham duct cleaning. Cunningham construction. Cunningham oil daytona beach. Cunningham children's home. Cunningham cichlids. Cunningham falls. Cunningham home services. Cunningham technique shoulder. 1 win & 6 nominations. See more awards ? Edit Storyline Even for those who know little about dance, Merce Cunningham is a recognizable name - an iconic figure in his field. His mid-20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it, " he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a... Written by Toronto International Film Festival Plot Summary | Add Synopsis Taglines: One choreographer defined 20th century modern dance. See more ? Details Release Date: 13 December 2019 (USA) Box Office Opening Weekend USA: $18, 422, 15 December 2019 Cumulative Worldwide Gross: $293, 649 See more on IMDbPro ? Company Credits Technical Specs See full technical specs ?.
Cunningham punt. Critics Consensus Cunningham may frustrate viewers hoping for a purer distillation of its subject's work, but it remains a solid tribute to a brilliant talent. 87% TOMATOMETER Total Count: 52 100% Audience Score User Ratings: 6 Cunningham Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Cunningham Videos Movie Info CUNNINGHAM traces Merce's artistic evolution over three decades of risk and discovery (1944-1972), from his early years as a struggling dancer in postwar New York to his emergence as one of the world's most visionary choreographers. The 3D technology weaves together Merce's philosophies and stories, creating a visceral journey into his innovative work. A breathtaking explosion of dance, music, and never-before-seen archival material, CUNNINGHAM is a timely tribute to one of the world's greatest modern dance artists. Rating: PG (for some smoking) Genre: Directed By: In Theaters: Dec 13, 2019 limited On Disc/Streaming: Mar 24, 2020 Runtime: 93 minutes Studio: Magnolia Pictures Cast News & Interviews for Cunningham Critic Reviews for Cunningham Audience Reviews for Cunningham Cunningham Quotes Movie & TV guides.
Cunninghams gap. Cunningham park queens. Vegan leather handbags. Cunninghamia lanceolata. Cunningham swaim. The iconic Merce Cunningham and the last generation of his dance company is stunningly profiled in Alla Kovgan's 3D documentary, through recreations of his landmark works and archival footage of Cunningham, John Cage, Robert Rauschenberg, and more. Even for those who know little about dance, Merce Cunningham is a recognizable name ? an iconic figure in his field. His mid?20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it, " he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a high-rise rooftop, and a forest. These current-day performances are interlaced with archival footage of Cunningham speaking and moving. We also hear illuminating interviews with Cage, Rauschenberg, and members of the original Merce Cunningham Dance Company, who endured years of rejection and outrage before they slowly won over audiences. "I never believed that idea that dancing was the greatest of the arts, " said Cunningham. "But when it clicks, there's the rub. It becomes memorable. And one can be seduced all over again. " Whether you come to Cunningham as a neophyte or an aficionado, you'll leave with a rich experience of his art. [TIFF, Thom Powers] 2020 LOLA@Berlinale ? Shortlisted for DEUTSCHER FILMPREIS DOKUMENTARFILM [German FilmAward] 2019 world premiere - TIFF Toronto 27 Filmfest Hamburg 15 Zurich Film Festival.
Cunningham equipment paris tx. Cunningham quill. Cunningham cylinder. Merce Cunningham Merce Cunningham in 1961 Born Mercier Philip Cunningham April 16, 1919 Centralia, Washington Died July 26, 2009 (aged?90) New York, New York Occupation Dancer, choreographer Years?active 1938?2009 Partner(s) John Cage [1] Website Mercier Philip " Merce " Cunningham (April 16, 1919?? July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He was notable for frequent collaboration with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, and Radiohead; graphic artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, and Jasper Johns; and fashion designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher, and leader of the Merce Cunningham Dance Company, [2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. [3] Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Biography [ edit] Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, [4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. [5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. [6] During this time, Martha Graham saw Cunningham dance and invited him to join her company. [7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992. [8] In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events, " or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center 's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. [9] Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. [10] Merce Cunningham Dance Company [ edit] Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work. [11] MCDC made its first international tour in 1964, visiting Europe and Asia. [11] From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. [12] In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011 [13] with a performance at the Park Avenue Armory. [14] Artistic philosophy [ edit] Collaboration [ edit] Still frame from Loops, a digital art collaboration with Cunningham and The OpenEnded Group that interprets Cunningham's motion-captured dance for the hands. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another. [15] After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth. [16] The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for a number of MCDC's early works, served as the Company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol. Chance operations [ edit] John Cage and I became interested in the use of chance in the 50s. I think one of the very primary things that happened then was the publication of the " I Ching, " the Chinese book of changes, from which you can cast your fortune: the hexagrams. Cage took it to work in his way of making compositions then; and he used the idea of 64?the number of the hexagrams ?to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow?say a particular sound?what did the I Ching suggest? Well, I took this also for dance. I was working on a title called, "Untitled Solo, " and I had made?using the chance operations?a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff. ?? Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000 Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. [17] Although the use of chance operations was considered an abrogation of artistic responsibility, [18] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries. Cunningham used "non-representa
Cunningham& 39;s towson. Cunninghams towson. Cunningham chrysler edinboro. Cunningham laurie. Cunningham tennis. Cunningham turch funeral home alexandria va. Cunningham park queens ny. Cunningham gas spring tx. Cunningham electric. Cunningham motors. Cunningham elementary school. Vegan leather puffer. Movies | ‘Cunningham’ Review: Exploring Space, Time and Dance in 3-D Critic’s Pick Alla Kovgan’s documentary about Merce Cunningham shows aspects of his choreography that can be difficult to convey on conventional film. Credit... Mko Malkhasyan/Magnolia Pictures Published Dec. 11, 2019 Updated Dec. 13, 2019 Cunningham NYT Critic's Pick Directed by Alla Kovgan Documentary, Biography, Music PG 1h 33m The screen is flat, but the space is round, both infinite and enveloping. The human figures in it, camouflaged, should blend in with the background. But they stick out in every direction, moving every which way. This thrilling fragment of the choreographer Merce Cunningham’s 1958 dance “Summerspace” is sufficient justification to make a documentary about Cunningham in 3-D. The technology conveys aspects of his radical aesthetic that are otherwise difficult to suggest on film. And that’s only one reason that Alla Kovgan’s “Cunningham” is an excellent introduction to a great body of work that can be hard to get a handle on. One of Cunningham’s many innovations was to dissolve the spatial organization and frontal focus of the proscenium stage, making all parts equal, with dancers facing and moving in any orientation and often several things happening at once. Kovgan’s film doesn’t reproduce this so much as find a vivid equivalent. The camera, choosing what you see, diminishes the feeling of simultaneity. But by moving into and through the dances in 3-D, it offers an immersive sense of what Cunningham called “a space in which anything can happen. ” It helps you see how the air around a dancer can seem as alive as the flesh. If 3-D helps put Cunningham across, it isn’t required. Some of the most seductive footage here isn’t the new performances of old works (1942-1972) that Kovgan filmed in 3-D, like “Summerspace, ” but lower-resolution, 2-D archival footage, much of it rare and irreplaceable. What makes it irreplaceable are the original performers, especially Cunningham himself, surely one of the greatest dancers of all time. His longtime muse Carolyn Brown speaks of his “quiet center” and “animal authority”; we see all that and more. It’s another strength of the film that the voices we hear are hers and his and those of other company members, recorded long ago. No current-day experts are needed to establish the core ideas of the Cunningham aesthetic, from the use of chance in composition to the independence of dance and music. The choice not to use new or outside voices keeps us in the period, and it helps preserve a Cunningham-like tact around personal facts. Although much of the film proceeds in chronological order, there’s almost no biographical back story; the long-shrouded relationship between Cunningham and the composer John Cage is delicately (and moving) presented in a single exchange of inexplicit letters. Likewise, tensions between Cunningham and his dancers aren’t hidden, but they’re not over-explained, either. Emotion roils beneath a deceptively placid surface. A story accrues. The same tact extends to questions of meaning. Cunningham’s practical-gnomic explanations illuminate without shutting down options. Kovgan doesn’t follow Cunningham’s courage all the way, though. As if to compensate for the lack of 3-D in the archival material, she collages it, splitting the screen into many panels. It’s artful but effortful, drawing too much attention to itself. That’s also true of much of the new footage. The elegant camera movements and dramatic settings chosen by Kovgan ? dance in a formal garden that the camera glides away from, over a pond, like a dragonfly ? are beautiful but often distract from what they are intended to display. The 90-minute film excerpts 14 works, which means that the snippets are quite short. This excerpting has a precedent in Cunningham practice. He liked to mix up pieces of many works in one-off performances called Events. Formally and philosophically, his focus was on each moment, with little linear development. The well-chosen selections in “Cunningham” reproduce the variety of a Cunningham Event, and give the Cunningham experience of luminous instants. But what the film doesn’t give is an accurate sense of Cunningham time. In a Cunningham dance, the mind can wander, experience different rates of change, be baffled, engrossed, astonished, bored. The price of Kovgan’s efficiency is impatience, always cutting away and moving on. “Cunningham” registers the resistance that its subject encountered: the puzzlement, the thrown fruit. But as a film, it doesn’t take comparable risks, so it precludes the possibility of certain rewards, ones you have to see the full dances to get. That’s what makes it a good introduction. Cunningham Rated PG. Running time: 1 hour 33 minutes.
(Android) German Language Tubeplus Writed By Alla Kovgan Cunningham Imdb Id Tt8574836 
Cast John Cage. Writers Alla Kovgan. Countries Germany. Year 2019. 6,5 of 10 star. Cunningham hodiny. Vegan leather cord. Cunningham school. Cunningham peaches. Vegan leather rings. Cunningham park. Cunningham highway. Cunningham funeral home colbert ok. Cunningham and associates. Cunningham funeral home kilgore texas.
Cunningham texas. Cunningham elementary austin. Cunningham elko nv. Cunningham tn.Cunningham duct cleaning. Cunningham construction. Cunningham oil daytona beach. Cunningham children's home. Cunningham cichlids. Cunningham falls. Cunningham home services. Cunningham technique shoulder. 1 win & 6 nominations. See more awards ? Edit Storyline Even for those who know little about dance, Merce Cunningham is a recognizable name - an iconic figure in his field. His mid-20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it, " he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a... Written by Toronto International Film Festival Plot Summary | Add Synopsis Taglines: One choreographer defined 20th century modern dance. See more ? Details Release Date: 13 December 2019 (USA) Box Office Opening Weekend USA: $18, 422, 15 December 2019 Cumulative Worldwide Gross: $293, 649 See more on IMDbPro ? Company Credits Technical Specs See full technical specs ?.
Cunningham punt. Critics Consensus Cunningham may frustrate viewers hoping for a purer distillation of its subject's work, but it remains a solid tribute to a brilliant talent. 87% TOMATOMETER Total Count: 52 100% Audience Score User Ratings: 6 Cunningham Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Cunningham Videos Movie Info CUNNINGHAM traces Merce's artistic evolution over three decades of risk and discovery (1944-1972), from his early years as a struggling dancer in postwar New York to his emergence as one of the world's most visionary choreographers. The 3D technology weaves together Merce's philosophies and stories, creating a visceral journey into his innovative work. A breathtaking explosion of dance, music, and never-before-seen archival material, CUNNINGHAM is a timely tribute to one of the world's greatest modern dance artists. Rating: PG (for some smoking) Genre: Directed By: In Theaters: Dec 13, 2019 limited On Disc/Streaming: Mar 24, 2020 Runtime: 93 minutes Studio: Magnolia Pictures Cast News & Interviews for Cunningham Critic Reviews for Cunningham Audience Reviews for Cunningham Cunningham Quotes Movie & TV guides.
Cunninghams gap. Cunningham park queens. Vegan leather handbags. Cunninghamia lanceolata. Cunningham swaim. The iconic Merce Cunningham and the last generation of his dance company is stunningly profiled in Alla Kovgan's 3D documentary, through recreations of his landmark works and archival footage of Cunningham, John Cage, Robert Rauschenberg, and more. Even for those who know little about dance, Merce Cunningham is a recognizable name ? an iconic figure in his field. His mid?20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it, " he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a high-rise rooftop, and a forest. These current-day performances are interlaced with archival footage of Cunningham speaking and moving. We also hear illuminating interviews with Cage, Rauschenberg, and members of the original Merce Cunningham Dance Company, who endured years of rejection and outrage before they slowly won over audiences. "I never believed that idea that dancing was the greatest of the arts, " said Cunningham. "But when it clicks, there's the rub. It becomes memorable. And one can be seduced all over again. " Whether you come to Cunningham as a neophyte or an aficionado, you'll leave with a rich experience of his art. [TIFF, Thom Powers] 2020 LOLA@Berlinale ? Shortlisted for DEUTSCHER FILMPREIS DOKUMENTARFILM [German FilmAward] 2019 world premiere - TIFF Toronto 27 Filmfest Hamburg 15 Zurich Film Festival.
Cunningham equipment paris tx. Cunningham quill. Cunningham cylinder. Merce Cunningham Merce Cunningham in 1961 Born Mercier Philip Cunningham April 16, 1919 Centralia, Washington Died July 26, 2009 (aged?90) New York, New York Occupation Dancer, choreographer Years?active 1938?2009 Partner(s) John Cage [1] Website Mercier Philip " Merce " Cunningham (April 16, 1919?? July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He was notable for frequent collaboration with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, and Radiohead; graphic artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, and Jasper Johns; and fashion designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher, and leader of the Merce Cunningham Dance Company, [2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. [3] Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Biography [ edit] Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, [4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. [5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. [6] During this time, Martha Graham saw Cunningham dance and invited him to join her company. [7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992. [8] In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events, " or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center 's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. [9] Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. [10] Merce Cunningham Dance Company [ edit] Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work. [11] MCDC made its first international tour in 1964, visiting Europe and Asia. [11] From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. [12] In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011 [13] with a performance at the Park Avenue Armory. [14] Artistic philosophy [ edit] Collaboration [ edit] Still frame from Loops, a digital art collaboration with Cunningham and The OpenEnded Group that interprets Cunningham's motion-captured dance for the hands. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another. [15] After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth. [16] The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for a number of MCDC's early works, served as the Company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol. Chance operations [ edit] John Cage and I became interested in the use of chance in the 50s. I think one of the very primary things that happened then was the publication of the " I Ching, " the Chinese book of changes, from which you can cast your fortune: the hexagrams. Cage took it to work in his way of making compositions then; and he used the idea of 64?the number of the hexagrams ?to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow?say a particular sound?what did the I Ching suggest? Well, I took this also for dance. I was working on a title called, "Untitled Solo, " and I had made?using the chance operations?a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff. ?? Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000 Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. [17] Although the use of chance operations was considered an abrogation of artistic responsibility, [18] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries. Cunningham used "non-representa
Cunningham& 39;s towson. Cunninghams towson. Cunningham chrysler edinboro. Cunningham laurie. Cunningham tennis. Cunningham turch funeral home alexandria va. Cunningham park queens ny. Cunningham gas spring tx. Cunningham electric. Cunningham motors. Cunningham elementary school. Vegan leather puffer. Movies | ‘Cunningham’ Review: Exploring Space, Time and Dance in 3-D Critic’s Pick Alla Kovgan’s documentary about Merce Cunningham shows aspects of his choreography that can be difficult to convey on conventional film. Credit... Mko Malkhasyan/Magnolia Pictures Published Dec. 11, 2019 Updated Dec. 13, 2019 Cunningham NYT Critic's Pick Directed by Alla Kovgan Documentary, Biography, Music PG 1h 33m The screen is flat, but the space is round, both infinite and enveloping. The human figures in it, camouflaged, should blend in with the background. But they stick out in every direction, moving every which way. This thrilling fragment of the choreographer Merce Cunningham’s 1958 dance “Summerspace” is sufficient justification to make a documentary about Cunningham in 3-D. The technology conveys aspects of his radical aesthetic that are otherwise difficult to suggest on film. And that’s only one reason that Alla Kovgan’s “Cunningham” is an excellent introduction to a great body of work that can be hard to get a handle on. One of Cunningham’s many innovations was to dissolve the spatial organization and frontal focus of the proscenium stage, making all parts equal, with dancers facing and moving in any orientation and often several things happening at once. Kovgan’s film doesn’t reproduce this so much as find a vivid equivalent. The camera, choosing what you see, diminishes the feeling of simultaneity. But by moving into and through the dances in 3-D, it offers an immersive sense of what Cunningham called “a space in which anything can happen. ” It helps you see how the air around a dancer can seem as alive as the flesh. If 3-D helps put Cunningham across, it isn’t required. Some of the most seductive footage here isn’t the new performances of old works (1942-1972) that Kovgan filmed in 3-D, like “Summerspace, ” but lower-resolution, 2-D archival footage, much of it rare and irreplaceable. What makes it irreplaceable are the original performers, especially Cunningham himself, surely one of the greatest dancers of all time. His longtime muse Carolyn Brown speaks of his “quiet center” and “animal authority”; we see all that and more. It’s another strength of the film that the voices we hear are hers and his and those of other company members, recorded long ago. No current-day experts are needed to establish the core ideas of the Cunningham aesthetic, from the use of chance in composition to the independence of dance and music. The choice not to use new or outside voices keeps us in the period, and it helps preserve a Cunningham-like tact around personal facts. Although much of the film proceeds in chronological order, there’s almost no biographical back story; the long-shrouded relationship between Cunningham and the composer John Cage is delicately (and moving) presented in a single exchange of inexplicit letters. Likewise, tensions between Cunningham and his dancers aren’t hidden, but they’re not over-explained, either. Emotion roils beneath a deceptively placid surface. A story accrues. The same tact extends to questions of meaning. Cunningham’s practical-gnomic explanations illuminate without shutting down options. Kovgan doesn’t follow Cunningham’s courage all the way, though. As if to compensate for the lack of 3-D in the archival material, she collages it, splitting the screen into many panels. It’s artful but effortful, drawing too much attention to itself. That’s also true of much of the new footage. The elegant camera movements and dramatic settings chosen by Kovgan ? dance in a formal garden that the camera glides away from, over a pond, like a dragonfly ? are beautiful but often distract from what they are intended to display. The 90-minute film excerpts 14 works, which means that the snippets are quite short. This excerpting has a precedent in Cunningham practice. He liked to mix up pieces of many works in one-off performances called Events. Formally and philosophically, his focus was on each moment, with little linear development. The well-chosen selections in “Cunningham” reproduce the variety of a Cunningham Event, and give the Cunningham experience of luminous instants. But what the film doesn’t give is an accurate sense of Cunningham time. In a Cunningham dance, the mind can wander, experience different rates of change, be baffled, engrossed, astonished, bored. The price of Kovgan’s efficiency is impatience, always cutting away and moving on. “Cunningham” registers the resistance that its subject encountered: the puzzlement, the thrown fruit. But as a film, it doesn’t take comparable risks, so it precludes the possibility of certain rewards, ones you have to see the full dances to get. That’s what makes it a good introduction. Cunningham Rated PG. Running time: 1 hour 33 minutes.
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