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Films of Yvonne Rainer

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Films of Yvonne Rainer The Films of Yvonne Rainer THEORIES OF REPRESENTATION AND DIFFERENCE General Editor: Teresa de Lauretis The Films of Yvonne Rainer Yvonne Rainer with contributions by B. Ruby Rich Bérénice Reynaud Mitchell Rosenbaum Patricia White INDIANA UNIVERSITY PRESS BLOOMINGTON AND INDIANAPOLIS © 1989 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. Manufactured in the United States of America Library of Congress Cataloging­in ­Publication Data Rainer, Yvonne The films of Yvonne Rainer / Yvonne Rainer with contributions by B. Ruby Rich … [et al.]. p. cm. — (Theories of representation and difference) Bibliography: p. Filmography: p. ISBN 0­253­34906­0. — ISBN 0­253­20542­5 (pbk.) 1. Rainer, Yvonne—Criticism and interpretation. 2. Experimental films—History and criticism. 3. Feminist motion pictures—History and criticism. I. Title. II. Series. PN1998.3.R35A25 1989 791.43'0233'0924—dc19 88­46035 CIP 1 2 3 4 5 93 92 91 90 89 Contents Foreword vii by Teresa de Lauretis Yvonne Rainer: An Introduction 1 by B. Ruby Rich Impossible Projections by Bérénice Reynaud 24 Interview with Yvonne Rainer 36 by Mitchell Rosenbaum Illustrations 46 Film Scripts Lives of Performers 59 Film About a Woman Who … 77 Kristina Talking Pictures 98 Journeys from Berlin/1971 133 The Man Who Envied Women 173 Filmography 219 Bibliography 221 compiled by Patricia White Page vii Foreword The films of Yvonne Rainer are a distinguished exemplar of contemporary American art. Produced at the intersection of creative and critical practices—the avant­ garde and the women's movement, filmmaking and theories of representation and spectatorship, performance art and psychoanalysis, autobiographical writing and the critical study of culture—her films situate themselves in the figural space between text and discourse, in a sustained exploration of the material, political relations of subjectivity to sociality. The scripts of her films are far more than a notation of the dialogues or the verbal support of the cinematic images; they are artistic and critical texts in their own right, as intensely and deliberately written as the essays of Virginia Woolf or the "writerly" texts of Roland Barthes may be said to be. They are so rich in speculative insights and intertextual allusions, meditations on art and life, political commentary and quotations from other cultural texts, that even several viewings of the films do not suffice for one to grasp the texture of excess that characterizes Rainer's creative imagination, her critical art. Hence the idea of this book, bringing together Rainer's film scripts to date in a carefully edited version, complemented by a comprehensive introduction to her earlier and recent films, and an up­to­date bibliography, is to make her work available for serious study as well as greater appreciation by anyone concerned with the visual arts, women's cinema, aesthetics, and cultural criticism. The introductory essay by B. Ruby Rich, first published as a monograph on Rainer, covers her films up to 1980 (Journeys from Berlin/1971), while Bérénice Reynaud's reading of The Man Who Envied Women and the 1988 interview by Mitchell Rosenbaum address Rainer's most recent work and current concerns with social criticism and film theory, feminism, narrative, and of course the economics and politics of independent filmmaking. The bibliography compiled by Patricia White includes all the critical writings both by Rainer herself and about her work, with the exception of reviews in daily or weekly newspapers. The unusual format of the book, halfway between the single­author work and the multi­authored collection, is intended to provide a valuable resource for students and scholars of film, as well as the record of a singular, highly original film practice and artistic achievement. TERESA DE LAURETIS January 1989 Page ix The Films of Yvonne Rainer Page 1 Yvonne Rainer: An Introduction B. Ruby Rich THE START of a new decade is an auspicious moment at which to survey Yvonne Rainer's work in cinema over the past eight years. Rainer had begun the Seventies as an established and celebrated performer, a dancer/choreographer credited with the wholesale re­invention of dance within a modernist lexicon. Now she has begun the Eighties as an established filmmaker, a key force in the re­invention of narrative, thereby contributing to the course of avant­garde cinema through this past decade. Of her dance work, it was said that she worked at "tearing away the facade of artificiality" and suggested that "no one who has ever been exposed to her work can again succumb to theatrical illusion with quite the same innocence." 1 The same might be said of her work in cinema, where this theme of innocence forever­lost has been a constant thread, linking Rainer's frustration of narrative continuity with her jabs at character identification and her landmining of emotional terrains. Initially conceived within the context of the performance world, Rainer's films have grown in complexity and assurance, reaching a climax of synthesis in her fourth and latest film, Journeys from Berlin/1971. In titling the film with that particular date, Rainer has provided a clue to the necessary starting point for any examination of her filmmaking career. As arbitrary as the choice of any particular date will inevitably appear, the year 1971 is, nevertheless, a persuasive index to Rainer's development. In retrospect, 1971 is a crucial year for a number of reasons pertinent to Rainer as dancer, filmmaker, woman, and traveller. 1971 marks the ten­year point in Rainer's career as a dancer, which formally began with her performance of "Three Satie Spoons" at the Living Theater in 1961. Her work in dance was characterized by a hostility to artifice, an insistence upon granting the everyday movement of the ordinary body the status of dance, a concentration on pure movement unencumbered by metaphor, a will to make the body stand for nothing but itself. During the days of the Judson Church performances, a complaint often levelled at Rainer and company was: Why are they so dead set on being themselves? When reviewing the history of dance in this period at the Walker Art Center, Rainer in a recent lecture commented on the similarity between this dance © 1981 by Walker Art Center. Reprinted with permission. Page 2 emphasis and the parallel art­world commitment to "unadorned, uninflected, sculptural objects" but admitted that bodies in space could never attain the level of abstraction that a painting or sculpture could. It is precisely this limitation of the body which, transferred to film, became Rainer's greatest strength. Rainer made the move from dance to film for a number of reasons. Struggling with her attraction/repulsion to authority, Rainer had disbanded her own company and formed a new collective group under the name of the Grand Union. The collective was calculated to maximize improvisation, decentralize decision­making, combat the dance world's notorious star system, and democratize its processes. Doubtless its formation was intended to solve Rainer's dilemma of 1969: "The weight and ascendancy of my own authority have come to oppress me." 2 Yet, once formed, the company's very anarchy came to exercise its own form of oppression upon the now­incipient director: "There was no way of my getting back in control…. When there's no boss, there are new problems."3 Such individualist anarchy was no doubt an attractive model for Rainer, judging by an exercise sheet distributed at a dance workshop she conducted at roughly the same period, which includes in its exhaustive list of possibilities the seductive number 18: ''Do anything you want (at your own risk)." Certainly the new situation quickly became riskiest for Rainer, who found the old oppression of authority replaced by a new, more equitable one: competition. "It wasn't the right atmosphere for me," she recently acknowledged.4 The way out appeared in the unlikely form of a travel grant awarded to Rainer by the Experiments in Art and Technology. Under its auspices, Yvonne Rainer spent the beginning of 1971 in India, where the impact of the music and theatre events which the still­minimalist­inclined New Yorker attended took root, tapping into the desire for character and narrative that had already begun to appear in her performance work. In the future, this brief India sojourn would have a major effect on the shape of Rainer's creativity. Its immediate effect, though, was a culture­shock negative: "I went into a deep funk, was flooded with contemptuous feelings toward my culture and my place therein, entertained fantasies of giving up my profession because I no longer had anything meaningful to say…."5 As these feelings of contempt and inadequacy were played out during the low days of 1971, Rainer presented a new performance. Grand Union Dreams, perhaps the pivotal work in moving her concerns wholly out of performance into film, was presented on May 16, 1971. Autonomous, it was the last of its kind (after May, all performance work was linked to the film meant to incorporate it). It was also the first of her performance pieces to emphasize individual characters and fictional plot strategies, showing the Indian legacy. At the same time, however, the masquerade of Grand Union Dreams as performance belied the fact that it was already the seed of a film. The film would be Lives of Performers, in which both rehearsals for and audience response to the performance would play a part.
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