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Lucinda Childs October 15–17, 2009 DANCE Thursday–Saturday, Lucinda Childs October 15–17, 2009 DANCE Photo by Nathaniel Tileston mcachicago.org Lucinda Childs DANCE Choreography by Lucinda Childs Film by Sol LeWitt Music by Philip Glass Lighting by Beverly Emmons Original costume design by A. Christina Giannini performers Tricia Toliver, Production manager Dance I Ty Boomershine, Assistant to the choreographer Katie Dorn Brett Alan Jim Woodard, Tour manager Sharon Milanese Dusan Tynek Tzell Travel and Jean Furukawa, Travel agency Katherine Fisher Travis Magee Shakirah Stewart Vincent McCloskey DANCE world tour representation: Dance II Pomegranate Arts Caitlin Scranton www.pomegranatearts.com Linda Brumbach, director Dance III Alisa E. Regas, Associate director Katie Dorn Ty Boomershine Kaleb Kilkenny, Business manager Anne Lewis Dusan Tynek Amanda Shank, Administrative assistant Katherine Fisher Travis Magee Shakirah Stewart Vincent McCloskey DANCE (1979) is comprised of three dances of approximately 20 minutes in length, performed Recorded music for Dance I and Dance III performed together without an intermission. by the Philip Glass Ensemble. Recorded music for Dance II performed by DANCE by Lucinda Childs was made possible by the National Philip Glass and Michael Riesman. Endowment for the Arts’ American Masterpieces: Dance Initiative, administered by the New England Foundation for the Arts. dancers in film (in order of appearance) Megan Walker Andre Peck Susan Osberg Erin Matthiessen Judy Padow Graham Conley Cynthia Hedstrom Daniel McCusker Lucinda Childs The reconstruction of DANCE was commissioned by the Richard B. Fisher Center for the Performing Arts at Bard College, with ad- ditional support from The Yard, a colony for performing artists on Martha’s Vineyard, Wendy Taucher, Artistic Director. 4 Artists Up Close The MCA’s popular series provides insight Dance film into the creative process through events that bring you closer to the artists. Lucinda Childs (dir.: Patrick Bensard, 2006, 1 hour) On Tuesday, October 13, Lucinda Childs introduced the film and engaged in a talk with the audience. Through probing interviews with Childs conducted exclusively for this film, Bensard delves deep into Childs’s early work, focusing on the evolving aesthetic of collaboration, minimalism, and satire that defined her early career. Join us for these upcoming Artists Up Dance films Close programs focused on Lucinda Childs My Lunch With Anna (dir.: Alain Buffard, 2005, and future dance performances. 58 minutes) Tuesday and Friday, November 3 and 6, Workshop 11 am and 1 pm Saturday, October 17, 1–3 pm Registration is $15, or $10 with DANCE This free screening features postmodern dance pio- performance ticket neer Anna Halprin, presented in conjunction with parades,& changes, replays by Anne Collod on the Lead company member Ty Boomershine takes MCA Stage, November 5–8. participants through the Cunningham technique, which focuses on rhythmic, spatial, and physical In 1996, over the course of five lunches in five lush clarity, with an emphasis on bodily coordination locales throughout the San Francisco area, French and multitasking. The second half of the workshop choreographer Alain Bu=ard interviewed Anna focuses on the methodology and process specific to Halprin about her life and career. The discussion the work of Lucinda Childs, including phrase mate- quickly evolved into a ritual of gesture and response rial from the repertory. This workshop is best suited that complemented the dialogue between the two for advanced students to professional dancers. dance legends. Poignant, informative, and at times hilarious, this documentary offers keen insight into First Night the inner workings of the choreographic brain. Saturday, October 17 Audience members are invited to stay for a con- versation with Ty Boomershine and fellow dancers following the performance. 5 Anna Halprin/ Anne Collod & guests parades & changes, replays Thursday, Saturday, and Sunday, November 5, 7, and 8 Anna Halprin is one of the most important and original thinkers working in performance. her impact on dance, theatre, and ritual is immense, positive, and life-giving. —richard schechner Daria Martin and Anne Collod A modern-day reinterpretation of postmodern dance in conversation extraordinaire Anna Halprin’s provocative 1965 work Saturday, November 7, 2 pm Parades & Changes Anne Collod and Daria Martin share their cre- ative process, inspirations, and shared interests: For tickets, call 312.397.4010 in Anna Halprin’s work, in questions of figure or visit mcachicago.org. and abstraction, and in the strategies of reinter- preting and restaging artworks. O;cial Airline of the Museum of Contemporary Art parades & changes, replays is made possible by the National Endowment for the Arts’ American Masterpieces: Dance Initiative, administered by New England Foundation for the Arts. parades & changes, replays is also funded in part by FUSED: French U.S. Exchange in Dance, a program of the National Dance Project/New England Foundation for the Arts and the Cultural Services of the French Embassy in New York with lead funding from the Doris Duke Charitable Foundation, the French American Cultural Exchange, and the Florence Gould Foundation. Photo by Jérôme Delatour MCA Performance Benefit Thursday, October 15, 2009 Featuring Lucinda Childs’s DANCE Benefit cochairs Evening Benefactor Terri and Stephen Geifman Ginger Farley Mary Ittelson and Rick Tuttle Nicholas and Gale Fischer Nancy Giampietro Spotlight Patrons Betty and Edward Harris Carol Prins, MCA Performance Committee Chair Ellen Stone Belic Joel and Carol Honigberg Lois and Steve Eisen/Eisen Rhona Hoffman Family Foundation Ruth P. Horwich A note of welcome Ginger Farley and Bob Shapiro Julie and Je= Kaplan Thirty years ago, three legendary artists collaborat- Gale and Ric Fischer Anne and John Kern ed to create a new interdisciplinary work by layer- David Herro and Jay Franke Kovler Family Foundation Anne and Burt Kaplan Nancy and Fred McDougal ing dance, music and film. The final work, DANCE, Lisa Lee Linda and Jerome H. Meyer was as thrilling emotionally as it was conceptually. Suzanne Lovell, Inc. Herbert R. and Paula Molner Tonight we experience this work anew, seeing it Susan and Lewis Manilow Maya Polsky and both as a newly reconstructed work and through Carol Prins and John H. Hart Nicolas Bridon the lens of time. This inventive collaboration of Richard F. Tomlinson Cari and Michael Sacks Dorie Sternberg Lucinda Childs, Philip Glass, and Sol LeWitt is even Benefactor Supporters Patty Sternberg more vigorous and remarkable today. Katherine A. Abelson and Rena and Dan Sternberg Robert J. Cornell Donna and Howard Stone The MCA celebrates and supports artists whose Susan Goldschmidt and Pooja and Peter Vukosavich visions stretch beyond the boundaries. The MCA Miles Taub Danielle D. Zimmerman and Stage Performance Benefit has only become a Sylvia Neil and Dan Fischel Martin E. Zimmerman reality through the imagination and dedication of Myron and Carol Warshauer cochairs Ginger Farley, Gale Fischer, and Carol Spotlight Supporters Family Foundation Jennifer Aubrey Prins, who have guided us forward. Marc and Liza Brooks As of October 13, 2009 We thank you for your presence here tonight and Joyce Chelberg Nora Daley Conroy and The evening’s dining your enthusiastic commitment to supporting the experience is kindly provided Sean Conroy by Wolfgang Puck Catering. arts. We hope you enjoy this mesmerizing perfor- Pamela Crutchfield mance and the celebration to follow. Tonight we Dirk Denison Wine for the evening is graciously provided by toast to each of you as well as the tremendous Marianne Deson Hart Davis Hart Wine Co. Megan and Jordan Dorfman artists who together give our museum its creative Décor for the evening is Jeff and Julie Friedstein vitality. provided by Event Creative. JP Morgan Chase Wendy and Steve Gardner Linens and equipment for the evening are provided by Classic Party Rentals. Peter Taub MCA Director of Performance Programs 7 About the artists Lucinda Childs was born in New York in 1940. In her second year at Sarah Lawrence College, she took a class with visiting professor and choreographer Merce Cunningham. After completing her degree, she went on to study at the Merce Cunningham Studio in New York. There she met Yvonne Rainer, who later cofounded (with Steve Paxton) the influential Judson Dance Theater and invited Childs to be one of Judson’s original company members. Describing this period, Childs has said, “Nothing is necessarily extraneous to dance including the professionally trained dancer’s susceptibility to the influence of nonprofessionals. The Judson Dance Theater concerned itself with this idea . materials as objects combining dance phrases with movement activity in relation to objects . a unified idiom of action, but a cumulative trend of activity that did not follow along one isolated scheme.” After forming her own company in 1973, Childs col- laborated with theatrical producer Robert Wilson and Photo by Peggy Kaplan composer Philip Glass on the opera Einstein on the Beach, participating as leading performer and chore- ographer (she also took part in the opera’s revivals in 1984 and 1992). It was dur- ing rehearsals for Einstein that Childs and Glass came up with the original idea for DANCE. In a Washington Post review of DANCE, Alan M. Kriegsman wrote, “a few times, at most, in the course of a decade a work of art comes along that makes a genuine breakthrough, defining for us new modes of percep- tion and feeling and clearly belonging as much to the future as to the present. Such a work is DANCE.” Childs is recognized as one of the most important modern choreographers in the United States. She has said of her work, which is often described as concep- tual dance, “My dances are an intense experience, of intense looking and listening.” Along with Glass, Wilson, and Sol LeWitt, Childs has worked with art- ists, composers, and directors such as John Adams, Frank Gehry, Henryk Górecki, Robert Mapplethorpe, Photo by Steve Pyke Terry Riley, and Iannis Xenakis. Childs received a John The MCA Collection includes numerous works by Simon Guggenheim Memorial Foundation Fellowship LeWitt, including Wall Drawing No.
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