Emergent Choreography: Spontaneous Ensemble

Total Page:16

File Type:pdf, Size:1020Kb

Emergent Choreography: Spontaneous Ensemble EMERGENT CHOREOGRAPHY: SPONTANEOUS ENSEMBLE DANCE COMPOSITION IN IMPROVISED PERFORMANCE A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF ARTS AND SCIENCE BY NINA MARTIN, B.A., M.F.A. DENTON, TEXAS AUGUST 2013 ACKNOWLEDGMENTS To the participants that have made this study possible: all my gratitude. Over the years, my students and my colleagues in the performance ensembles of Channel Z, Locktime, and Lower Left Performance Collective have served as the fertile fields of inquiry that inspired my work. I value the support of my Ph.D. cohort, including that of Valerie Alpert, Tamara Ashley, Adrienne Clancy, Joan Frosch, and especially Nona McCaleb, whose camaraderie in scholarship and life has been invaluable. My dissertation chair, Dr. Linda Caldwell, and my committee members Dr. Rosemary Candelario and Sarah Gamblin, M.F.A., have helped me immeasurably toward my goals as a scholar. I am grateful to my graduate professor and mentor, Dr. Frances Bruce, who elevated the intellectual framework that underpins this research and served as my content reader. I thank Dr. Steve Sherwood, Director of the TCU Writing Center and Josh Wariya-Daniel who have helped shaped my words in order to more eloquently convey my meaning. I appreciate the support of my siblings, Sharon Martin Kocurek, Laura Martin Labatt, Helen Martin Reeves, and Loretto Martin Patterson, whose support for this endeavor has been crucial to my success. I especially value my sister, Dr. Mary Martin Patton, Dean of the College of Education at TCU, who has mentored me from my return to undergraduate studies in 2003, through my Master of Fine Arts degree in 2008, and iii now the completion of the Ph.D. Mary, your steadfast encouragement has been crucial to the completion of my goals. I appreciate the support of my colleagues on faculty at TCU School for Classical & Contemporary Dance who generously accommodated my needs in the writing of this dissertation are appreciated. I especially thank my department chair, Ellen Page Shelton, for accommodating my writing schedule and Roma Flowers, along with her husband John Spray, who cooked so many meals for me to support the writing of this dissertation. Finally, to my dear friend Evelyn Luciani and to my mother-in-law Adeanya Hunt, my husband Paul Hunt, and my son Ian Martin Hunt – It has been a long 10 years through this educational process, and I could not have completed it without your support. It takes a village to make a scholar. Thank you all! iv ABSTRACT NINA MARTIN EMERGENT CHOREOGRAPHY: SPONTANEOUS ENSEMBLE DANCE COMPOSITION IN IMPROVISED PERFORMANCE AUGUST 2013 This study examines the experience of dancemakers, who choreograph spontaneously within the complexity of the ensemble while embedded in a performance environment. The dissertation articulates such themes as the self-organizing aspects of spontaneous ensemble dancemaking; the role of implicit choreography and motivations for engaging in improvised performance; and the function of recursive dance practices that cycle through the spontaneous performance event and the participant’s studio practice. The research focused on five evenings of performance by four different ensembles: the Seattle Festival of Dance Improvisation ensembles (Seattle, WA), the LIVE Dance Theater (San Diego, CA), and the Lower Left Performance Collective (Stolzenhagen, Germany). I also conducted face-to-face interviews with three dance artists, Barbara Dilley, Lisa Nelson, and Susan Sgorbati, all of whom have developed ensemble compositional methods for dancemaking. I employed a constructionist approach and engaged in the research process as a participant observer. The data set includes post-performance journaling, performance videos, a study questionnaire (see Appendix B), my research journal, and post-performance group interviews with the v performers. I interpret this data through a lens that incorporates a dynamical systems approach that provides models for understanding self-organizing systems such as the individual choreographer in spontaneous ensemble dancemaking, the ensemble exhibiting characteristics of emergent group cognition, and the live audience. As the narrative emerges through the dissertation chapters, The Continuum of Deliberation serves to disrupt binary understandings of terms such as choreography and improvisation and, instead, proposes a dialectic relationship wherein the dance artist enacts both an implicit and explicit spontaneous choreography. This dialectic provides ground for framing individual dancemaking epistemologies emerging as an Ensemble Epistemology in performance. The self-organizing principles underlying ensemble dancemaking in performance allow each dance to choreograph itself and to create a new dance that is expressive of an Ensemble Aesthetic. As the dance unfolds in performance, the dynamic environment includes a live audience that emerges in the study as a co- creator of the dance. The data indicate that communal aspects of this dance form motivate the participants’ growth as dancemakers and social beings as well as contributing to the vibrancy of this complex choreographic method. vi TABLE OF CONTENTS Page ACKNOWLEDGMENTS ...................................................................................................3 ABSTRACT .........................................................................................................................5 LIST OF TABLES .............................................................................................................10 LIST OF FIGURES ...........................................................................................................11 Chapter I. DANCING ON THE EDGE: SPONTANEOUS ENSEMBLE DANCEMAKING IN PERORMANCE ..................................................................1 Entering Ensemble Performance ........................................................................1 Brief Overview of Dance Scholarship ...............................................................2 Exploring the Bi/nary: Choreography~Improvisation .................................4 Improvising Choreography ..........................................................................6 Entering Complexity ..........................................................................................9 Dancing the Implicit~Explicit Body~Mind .....................................................13 Dancing in the Illusion of the Present ........................................................15 Dancing What I Know: Bringing Prior Experience to Spontaneous Dancemaking ............................................................17 Dancing the Body~Brain: Timely Short Cuts to Dancing ...............................18 Perceiving Affordances in the Ensemble Environment .............................21 Dancing an Ensemble Epistemology as Ground for an Ensemble Aesthetic ........................................................................23 Design of Study ...............................................................................................28 Conclusion .......................................................................................................32 II. FRAMING THE STUDY: IMPROVISING A DANCED WORLD ....................34 III. OF RESEARCH AND ANALYSIS ......................................................................34 Purpose Statement ............................................................................................35 Mode of Inquiry ...............................................................................................36 Dancing between Constructivism and Constructionism ............................37 Participant Observer ...................................................................................38 Problem Statement ...........................................................................................40 vii Selection and Recruitment ...............................................................................41 Methodology and Procedures ..........................................................................44 Data Collection ..........................................................................................45 Data Analysis ...................................................................................................51 IV. A SENSE OF ENSEMBLE: CHOREOGRAPHING THE UNKNOWN .............55 Choreographing the Unknown .........................................................................56 Scoring Spontaneous Ensemble Dancemaking ................................................58 Dancemaking Communities .............................................................................60 Theatrical Conventions and Unconventional Dancemaking ............................62 Seattle Festival of Dance Improvisation Faculty Ensembles .....................63 LIVE Dance Theater ..................................................................................77 Lower Left Performance Collective ...........................................................83 Conclusion .......................................................................................................91 V. EMERGENT ENSEMBLE DANCEMAKING: DIVERSE EPISTEMOLOGIES AND MOTIVATIONS .......................................................93 Bringing One’s History into Spontaneous Performance ..................................93 Seattle Festival of Dance Improvisation
Recommended publications
  • The Kitchen Center for Video, Music and Dance
    THE KITCHEN CENTER FOR VIDEO, MUSIC AND DANCE December 29, 1979 Woody,Steina Vasulka 257 Franklin Street Buffalo, New York 14202 Dear Woody and Steina, Enclosed is a rough draft of the videotape catalogue we're trying to put together . A few tapes are listed under your name . Could you please look over this information and make corrections, exclamations and changes where necessary . I would like to have your changes or OK by the end of February if possible . Thanks for the trouble . Board of Directors Robert Ashley Paula Cooper Suzanne Delehanty Philip Glass Barbara London Mary MacArthur Barbara Pine Carlota Schoolman Robert Stearns John Stewart Caroline Thorne Paul Walter HALEAKALA, INC. 59 WOOSTER NEW YORK, NEW YORK 10012 (212) 925-3615 ARTIST ADDRESS PHONE NAME OF TAPE CORRECTIONS/ADDITIONS SUGGESTIONS ARTIST (S) TITLEUS) TIME Ga n m r 0 0 0 cc w r a m wm AARON , Jane and When I Was A Worker Like LaVerne r 0 r n rt N~ x n a0 n BLUMBERG , Skip 29 minutes 0 w 0 K A straightforward account of both management and labor at a w rr Sears and Roebuck Company mail order house in Chicago . The m m plant foreman explains some of the operations of the business n with a tour through the nine floor structure, spotted along m with interviews with workers at a variety of duties, who appear to genuinely enjoy their labors . x R X X x Note : Copy #1 ACCONCI , Vito Red Tapes 140 minutes I, Common Knowledge Picture plane space - novelistic - scheme of detective story .
    [Show full text]
  • Story the Viewp
    Unpublished Notes on the Viewpoint of Story Based on the Work of Mary Overlie Wendell Beavers (Copyright 2000) Story The Viewpoint of Story has a particular provenance which is rooted in a moment of dance history which declared itself anti-story, anti literal and anti illusion.* Several of the most powerful storytelling experiences in the theater I ever witnessed were performances of the Grand Union, a group made up of participants of the Judson Dance Theater. Its members were perceived as both heroic and legendary performers and disgusting cheapeners of the magic that was supposed to happen in the theater. The divide was mostly generational and the result of a natural sort of overthrow of what came before. Their brand of open improvisational performance featured precipitous surprises and a kind of high drama difficult to explain because of the ordinary circumstances from which these events always managed somehow to arise. The next “thing” to happen always seemed inevitable after the fact, but completely impossible to anticipate the moment before. This was storytelling--which got labeled post-modern--but in retrospect had a peculiar link to shamanistic story telling. It may be jarring to link post modernism with shamanism because we associate shamanism with the cultivation and communication of spiritual or other worldly things. Postmodern performers of the sixties and seventies were looking into themselves and their immediate environment. They were communicating or pointing out the nature of the material world before us. There was not supposed to be anything otherworldly about it. The ordinary magic that they practiced and bequeathed to the next generation was quite subversive to the modern dance sensibility, not to mention the high art theater world of ballet etc.
    [Show full text]
  • Barbara Dilley & Yvonne Rainer with Wendy Perron
    Danspace Project Conversations Without Walls: Barbara Dilley & Yvonne Rainer with Wendy Perron November 21, 2020 Judy Hussie-Taylor Welcome to Danspace Project and our Conversation Without Walls. I'm Judy Hussie-Taylor, Executive ​ ​ Director & Chief Curator. I'm honored to welcome three people I hold in high esteem, Barbara Dilley, Yvonne Rainer, and Wendy Perron. Thank you all for joining us today to celebrate Wendy's new book "The Grand Union: Accidental Anarchists of Downtown Dance 1970-76" published by Wesleyan University Press. So this is an exciting occasion. I just quickly want to thank our Danspace staff and our behind the scenes wizards, especially Yolanda Royster and Ben Kimitch, for holding us all together today on the Zoom. So all three of our guests have extensive histories with Danspace Project. Barbara Dilley co-founded Danspace Project, along with Mary Overlie and Larry Fagin in 1974. Prior to that, Barbara was a member of Merce Cunningham's company from 1963 to 1968. She danced with Yvonne Rainer from 1966 to 1970 and was a member of the Grand Union, which you'll hear a lot about today. She was instrumental in the founding of Naropa University in Boulder, Colorado, which is where I met Barbara. She designed the dance department and served as the University's President from 1985 to 1993. Most recently, she is the author of "This Perfect Moment, Teaching Thinking Dancing," which is part autobiography, part workbook. Choreographer, filmmaker, and the author of many books, Yvonne Rainer was a co-founding member of Judson Dance Theater in 1962.
    [Show full text]
  • A Proposal for an Integrated Rehearsal Methodology for Shakespeare (And Others) Combining Active Analysis and Viewpoints
    “UNPACK MY HEART WITH WORDS”: A Proposal for an Integrated Rehearsal Methodology for Shakespeare (and Others) Combining Active Analysis and Viewpoints by GERALD P. SKELTON, JR. BSc, MFA, MA A practice-based thesis submitted to the Faculty of Arts and Social Sciences of Kingston University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy September 2016 I hereby declare that the work presented in this thesis is my own. Gerald P. Skelton, Jr. ABSTRACT The performance of Shakespeare represents a distinct challenge for actors versed in the naturalistic approach to acting as influenced by Stanislavsky. As John Barton suggests, this tradition is not readily compatible with the language-based tradition of Elizabethan players. He states that playing Shakespeare constitutes a collision of “the Two Traditions” (1984, p. 3). The current training-based literature provides many guidelines on analysing and speaking dramatic verse by Shakespeare and others, but few texts include practical ways for contemporary performers to embrace both traditions specifically in a rehearsal context. This research seeks to develop a new actor-centred rehearsal methodology to help modern theatre artists create performances that balance the spontaneity and psychological insight that can be gained from a Stanislavsky-based approach with the textual clarity necessary for Shakespearean drama, and a physical rigour which, I will argue, helps root the voice within the body. The thesis establishes what practitioner Patsy Rodenburg (2005, p. 3) refers to as the need for words, or the impulse to respond to events primarily through language, as the key challenge that contemporary performers steeped in textual naturalism confront when approaching Shakespeare and other classical playwrights.
    [Show full text]
  • Reflections on Nancy Stark Smith, Collaborating Founder of Contact Improvisation, Part 1 by Jonathan Stein
    Photo: Ilya Domanov Reflections on Nancy Stark Smith, Collaborating Founder of Contact Improvisation, part 1 by Jonathan Stein Internationally known dancer, editor, writer, organizer and a collaborating founder of Contact Improvisation, Nancy Stark Smith, died on May 1st after an extraordinary life of fearlessly exploring new ways of making art, breaking gender norms, and communicating the ephemeral body-mind states of experiences of dance. She was in the initial group working with Steve Paxton, who originated Contact Improvisation, along with Nita Little, Daniel Lepkoff, Barbara Dilley, Mary Fulkerson, and Nancy Topf, among others. Influenced by the ground-breaking dance-theater experiments in improvisation of the Grand Union and Judson Dance Theater, she ignited a new revolution after the first public performance of Contact Improvisation in New York City in 1972 by propagating the work world-wide in a myriad of ways. In 1975, she co-founded with Lisa Nelson Contact Quarterly, a Vehicle for Moving Ideas, which has become a critical international journal on improvisation and somatics. In 1990, Nancy created the Underscore, a long-form dance improvisation structure that incorporated Contact Improvisation into a broader arena of improvisational dance practice. The Underscore is practiced around the world, including at the Global Underscore in June every year since 2000. She also developed her pedagogy, the States of Grace, which involved twelve arenas (“Pods”) of dance experience. Since her death CQ has created a Facebook page for remembrances, Nancy Stark Smith Harvest and a website, Honoring Nancy Stark Smith; and Dance Magazine has published Wendy Perron’s obituary. thINKingDANCE has invited movement artists, writers and others who knew Stark Smith or were influenced by her across the generations to offer their reflections.
    [Show full text]
  • Letter to the Editor
    Letter to Nominated for the Bueno the Editor Prize awarded by Dance Perspectives A Correction Foundation I would like to point out an error in the De La Torre. Fall 1992 issue of DRJ. In the report on the Society of Dance History Scholars THE GRAND UNION (1970-1976) Conference, Marge Maddux states that An Improvisational Performance Group the productions of BronislavaNijinska's By Margaret Hupp Ramsay. Ph.D. Les Noces and Les Biches were recon- An intimate view of a revolutionary moment in structed by Frank Ries for the Oakland American dance and theater history. The New Ballet (p. 59). These works were York-based improvisational collective - Yvonne mounted on the Oakland Ballet by the Rainer, Steve Paxton, David Gordon, Trisha Brown, choreographer's daughter, Irina Douglas Dunn, Barbara Dilley and Nancy Green. Nijinska; Ries was only responsible for the staging of Le Train Bleu. "... and the audience stood and clapped with tears running down their cheeks and I thought, 'I guess Lynn Garafola that was funny.' I had goose bumps all over me." New York, New York Dr. Ramsay holds a Ph.D. in Performance Studies from New York University and an M.S. in Dance from the University of Wisconsin. PETER LANG PUBLISHING 62 West 45th Street. 4th Floor. N.Y.. N.Y. 10036 To order call 212/764-1471 Degrees: B.A., B.S., M.A., M.F.A. in Choreography and/or Performance, Ph.D. in Dance and Related Arts (Coeducational at the Graduate Level). Scholarships and Graduate Teaching Assistantships Available SUMMERDANCE '93: Truth in Movement: Phenomenology and Dance, Sondra Fraleigh, June 7-25; Modern Dance and Partnering Workshop with Art Bridgman and Myma Packer, June 7-19; Historical and Contemporary Jazz Styles with Danny Buraczeski, July 5- 17; Curriculum Inquiry in Dance and the Related Arts, May 17-June 4, Dr.
    [Show full text]
  • Mall Fight to Resume
    Clear tonight Manchester, Conn. and Saturday Fri., Oct. 30, 1981 — See page 2 r Mrralb 25 Cents In Buckland J • 1 $ ^ I « » I Mall fight to resume By Scot French to its approval, including the Herald Reporter requirement that the developer post a $3-million bond for road im­ A South Windsor neighborhood provements. group plans to appeal a zoning Schulman said the suit will ques­ change which would allow construc­ tion the legality of the conditions tion of the massive Buckland Com­ placed on the approval, and will also mons mall on the Manchester/South charge that the approval was in Windsor line. violation of regulations and statutes. The Pleasant Valley He declined to elaborate. Neighborhood Association of South The mall, proposed by Kravco Inc. Windsor plans to file an appeal in and Buckland Associates, both of \ Hartford Superior Court “by the Pennsylvania, would cover 93 acres ' beginning of next week," according in South Windsor and Manchester. It to attorney David L. Schulman of would include four major depart­ Manchester. ment stores, more than 125 other The suit will seek to overturn a stores and restaurants and about 4,- decision last week by the South 000 parking spaces. Windsor Planning and Zoning Com­ The Manchester PZC approved a mission, which approved a zone zoning change to accommodate the Herald photo by Pinto change from one-acre Rural project in March 1974. The property, Residential lots to Designed located in Buckland tobacco land. Commercial zoning. This flat tobacco farmland Is the site of the proposed Buckland Commons, planned for the Manchester-South Windsor border.
    [Show full text]
  • An Historical Perspective on Lucinda Childs' Calico Mingling
    arts Article Towards an Embodied Abstraction: An Historical Perspective on Lucinda Childs’ Calico Mingling (1973) Lou Forster 1,2 1 Centre de Recherche sur les Arts et le Langage, École des Hautes Études en Sciences Sociales, 75006 Paris, France; [email protected] 2 Institut National D’histoire de L’art, 75002 Paris, France Abstract: In the 1970s, choreographer Lucinda Childs developed a reductive form of abstraction based on graphic representations of her dance material, walking, and a specific approach towards its embodiment. If her work has been described through the prism of minimalism, this case study on Calico Mingling (1973) proposes a different perspective. Based on newly available archival documents in Lucinda Childs’s papers, it traces how track drawing, the planimetric representation of path across the floor, intersected with minimalist aesthetics. On the other hand, it elucidates Childs’s distinctive use of literacy in order to embody abstraction. In this respect, the choreographer’s approach to both dance company and dance technique converge at different influences, in particular modernism and minimalism, two parallel histories which have been typically separated or opposed. Keywords: reading; abstraction; minimalism; technique; collaboration; embodiment; geometric abstraction; modernism 1. Introduction On the 7 December 1973, at the Whitney Museum of American Art, four women Citation: Forster, Lou. 2021. performed Calico Mingling, the latest group piece by Lucinda Childs. The soles of white Towards an Embodied Abstraction: sneakers, belonging to Susan Brody, Judy Padow, Janice Paul and Childs, resonated on the An Historical Perspective on Lucinda wood floor of the Madison Avenue, building with a sustained tempo.
    [Show full text]
  • Vets to Offer Alternative Counseling
    Vol. 74 THE TRINITY TRIPOD Issue 18 IVED Z 1976 Vets To Offer Alternative Counseling by Marc Blumenthal The" Veterans Coalition for among others, health care and Members plan to expand the marine recruiters present and to Roberts urged the Trinity Community Affairs will offer school benefits available to program. offer pre-enlistment counseling community to stop in to hear what alternative counseling in op- veterans. Roberts said the Coalition has with the aid of their literature. the Coalition members have to say position to U.S. Marine recruit- Within the last year, the also become involved in the Roberts emphasized that the and to pick up some of their ment on campus on Monday, Coalition nas become involved in military discharge question. It is counseling the Coalition offers literature. March 8. The Coalition has an different issues. It is concerned devoting considerable time to a stems from the actual experience active membership of about 50, with the presence of the military campaign to expose the alleged of people who have been intimately with representation from all four and the military-industrial com- faults in the military justice involved with the military. armed services. plex on college and university system. According to Christopher Shink- According to coalition member, campuses. The Coalition hopes to include man, career counselor, the Tentative Gordon Roberts the group was Recently, the coalition has put the issue of the military justice Coalition will have the opportunity formed two years ago at the together an anti-military slide system in its program here at to present their point in the career University of Massachusetts at show based on Vietnam.
    [Show full text]
  • Judson Dance Theater: the Work Is Never Done ABOUT the EXHIBITION MOVING-IMAGE INSTALLATION DESIGNED by CHARLES ATLAS
    Judson Dance Theater: The Work Is Never Done ABOUT THE EXHIBITION MOVING-IMAGE INSTALLATION DESIGNED BY CHARLES ATLAS ******************************** ******************************** The exhibition is organized by Ana Janevski, Curator, and Thomas J. Lax, Associate For a brief period in the early For this exhibition, filmmaker and Curator, with Martha Joseph, 1960s, a group of choreographers, video artist Charles Atlas has Curatorial Assistant, Department of Media and Performance Art. visual artists, composers, and made an installation of historical Performances are produced filmmakers gathered in Judson moving-image material related to by Lizzie Gorfaine, Producer, Memorial Church, a socially engaged the work of the choreographers with Kate Scherer, Manager, Performance and Live Programs. Protestant congregation in New featured in the performance York’s Greenwich Village, for a program, alternating with a series of workshops that ultimately compilation of performance footage redefined what counted as dance. from the Judson group’s various The performances that evolved members. It includes footage of The exhibition is made possible by Hyundai Card. from these workshops incorporated both individual and group pieces everyday movements—gestures drawn made during the Judson era and Leadership support is provided from the street or the home; their after, emphasizing the relationship by Monique M. Schoen Warshaw, The Jill and Peter Kraus Endowed structures were based on games, of the soloist to the ensemble and Fund for Contemporary simple tasks, and social dances. showing how Judson influenced the Exhibitions, and by MoMA’s Wallis Spontaneity and unconventional later careers of these artists. To Annenberg Fund for Innovation in Contemporary Art through the methods of composition were create the segment dedicated to Annenberg Foundation.
    [Show full text]
  • Annette Shapiro, Piano University of Connecticut
    University of Connecticut OpenCommons@UConn Concert Programs Department of Music 3-26-2011 Music at UConn : Corey Killian, alto saxophone ; Annette Shapiro, piano University of Connecticut. Department of Music. Recitals and Concerts [email protected] Follow this and additional works at: https://opencommons.uconn.edu/concrt_prgms Part of the Music Practice Commons Recommended Citation University of Connecticut. Department of Music. Recitals and Concerts, "Music at UConn : Corey Killian, alto saxophone ; Annette Shapiro, piano" (2011). Concert Programs. 9. https://opencommons.uconn.edu/concrt_prgms/9 find us on facebook! Saturday, March 26th, 2011 at 3:00pm UPCOMING EVENTS von der Mehden Recital Hall see the complete list on facebook Jonathan Garcia, trumpet Saturday, March 26th, 2011 at 5:00pm Corey Killian, Peter Orfitelli, saxophone Saturday, March 26th, 2011 at 8:00pm Candide Uconn Opera Workshop Alto Saxophone Nafe Katter Theatre Saturday, March 26th, 2011 at 8:00pm For the courtesy of the artists and your fellow patrons, kindly turn off cell Annette Shapiro, Piano phones and other electronic devices for the duration of the performance. Visit the School of Fine Arts web site at www.sfa.uconn.edu How to reach us School of Fine Arts 486-3016 Art Department 486-3930 Dramatic Arts Department 486-4025 Music Department 486-3728 Arts Outreach 486-3774 Ballard Institute of Puppetry 486-4605 Benton Museum 486-4520 Connecticut Repertory Theatre 486-4226 Jorgensen Box Office 486-4226 von der Mehden Recital Hall 486-2260 Community School of the Arts 486-1073 24-HOUR INFOLINE 486-2106 You can hear classical music on WHUS (91.7FM), the radio station of the University of Connecticut.
    [Show full text]
  • Movement for Actors This Page Intentionally Left Blank Movement for Actors
    Movement for Actors This Page Intentionally Left Blank Movement for Actors Edited by NICOLE POTTER © 2002 Nicole Potter The essays in Movement for Actors were written expressly for this book. Copyrights for individual essays are retained by their authors, © 2002. All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 06 05 04 03 02 5 4 3 2 1 Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 Cover and interior design by Annemarie Redmond Cover photo credits (clockwise, from upper left): Margolis Brown Theater Company, The Bed Experiment, conceived and written by Kari Margolis and Tony Brown, photo: Jim Moore; Theater Ten Ten, King Lear, 1998, directed by Rod McLucas, fight direction by Joe Travers, Jason Hauser (Edmund), Andrew Oswald (Edgar), photo: Sascha Nobés; Shakespeare and Company, Sarah Hickler, Rebecca Perrin, Mary Conway, Susan Dibble, photo: Stephanie Nash. Page composition/typography by Sharp Des!gns, Lansing, MI ISBN: 1-58115-233-7 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Movement for actors / edited by Nicole Potter. p. cm. Includes bibliographical references and index. ISBN 1-58115-233-7 1. Movement (Acting) I. Potter, Nicole. PN2071.M6 M59 2002 792'.028—dc21
    [Show full text]