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Note to Users NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. Furtherowner. reproduction Further reproduction prohibited without prohibited permission. without permission. UNEXPECTED SYNCHRONICITIES: EXPLORING CUNNINGHAM’S CHOREOGRAPHY THROUGH DERRIDA’S THEORY OF DECONSTRUCTION By Rachel Ellen Stephens Submitted to the Faculty o f the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Masters of Arts In Dance Chair: ... DrJjtrett Ashley Cra$fard U DryAprt&Smith ^ Cirsten Bodenstemer Dean Datela tip* ff 2005 American University Washington, D.C. 20016 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1425716 Copyright 2005 by Stephens, Rachel Ellen All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1425716 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©COPYRIGHT by Rachel Ellen Stephens 2005 ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UNEXPECTED SYNCHRONICITIES: EXPLORING CUNNINGHAM’S CHOREOGRAPHY THROUGH DERRIDA’S THEORY OF DECONSTRUCTION BY Rachel Ellen Stephens ABSTRACT Both Merce Cunningham and Jacques Derrida are credited with underscoring a generation of thought in their respective fields in the late twentieth century. This study investigates an unexplored theoretical synchronicity between these two men using Derrida’s theory of deconstruction. Three preliminary tenets of deconstruction - the relentless pursuit of the impossible, the decentering effect of subverting the central term, and the constantly changing and evolving role of meaning - are compared to Cunningham’s technique, choreography, and approach to expressive meaning to explore similarities. This information can be used to gain a deeper understanding and appreciation of Cunningham’s work and offers a unique opportunity to discover an unexpected connection between dance and philosophy. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UNEXPECTED SYNCRONICITIES: EXPLORING CUNNINGHAM’S CHOREOGRAPHY THROUGH DERRIDA’S THEORY OF DECONSTRUCTION By Rachel Ellen Stephens Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Masters of Arts In Dance Dr./Bjrett Ashley Crawford ; ___ Smith Kirsten BodeTfsteiner Dean A A (Sy&ufS ___ Date 2005 American University Washington, D.C. 20016 B 8 8 ° l AMERICAN UNIVERSITY LIBRARY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT 11 Chapter 1. VALUE AND IMPORTANCE OF STUDY. 1 Merce Cunningham Jacques Derrida What is “Deconstruction?” Using Deconstruction “Disclaimer” Three Deconstruction Tenets and Three Cunningham Themes Relevant Background on Merce Cunningham Relevant Background on Jacques Derrida Conclusion 2. THE CUNNINGHAM TECHNIQUE .27 Cunningham’s Deconstructed Technique Evidence of Classical Traditions Evidence of Modem Innovations Torse as an example Cunningham Technique is the Embodiment of Deconstruction iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Conclusion 3. CHANCE 49 What is Chance Methodology? Pursuing the ‘ Arrivant’ Subverting the ‘Central Term’ of Personality Positive Results of Deconstruction in Choreography Conclusion 4. MEANING IS ALWAYS IN FLUX. 72 Understanding Derrida’s Concept of Text and Meaning Cunningham’s Rejection of Explicit Meaning Let the Audience Decide Walkaround Time as an Example Challenges of Escaping Narrative Conclusion 5. CONCLUSION, 97 Why Take the Risk? Deconstruction Happens Conclusion BIBLIOGRAPHY 108 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 VALUE AND IMPORTANCE OF STUDY That art exists . has never sufficed to generate a philosophy of that art. But when we turn to dance we find, first, that for various reasons the ideologies available to the other arts have not been available to it, so that philosophers could not bring it into their general theories of the arts. Francis Sparshott, Why Philosophy Neglects the Dance If philosophers cannot even develop an adequate account of the human body, how can they be expected to say anything true or interesting about dance? David Michael Levin, Philosophers and the Dance Merce Cunningham On October 4, 2000 The Guardian pronounced Merce Cunningham to be “Without a doubt, the world’s greatest living choreographer.”1 One would expect such a strong opinion about an artist to raise the ire of other members of the field, raising their voices to argue against such a value-laden statement. But, the utter lack of response seemed to reinforce the idea that, given that dance greats such as Martha Graham and George Balanchine are no longer with us, “Merce Cunningham is the last of the great, groundbreaking 20th century choreographers.”2 The streams of platitudes which Cunningham now receives, both from the outside and within the field of dance, 1 Roger Copeland, Merce Cunningham: The Modernizing o f Modem Dance (New York: Routledge, 2004), 1. 2 Ibid. 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2 locally and internationally, seem to confirm his status as an institution in contemporary dance. Cunningham scholar Roger Copeland believes that “Merce Cunningham will eventually be regarded - if he isn’t already - as one of the three most important choreographers of the 20th century.”3 Indeed, the opinion was repeated in the 26 January 2003 edition of the San Diego Union Tribune in an article by Jennifer De Poyen aptly titled “How Merce Cunningham Became, Quite Simply, the World's Greatest Living Choreographer.”4 She argued that: Cunningham's experiments with movement and choreographic structure, his groundbreaking collaborations with other artists, have reoriented our thinking about, and experience of, the art of dance. He is, quite simply, the world’s greatest living choreographer. It seems as though, regardless of one’s personal opinions about Cunningham’s work, its resonance on the art form in the latter part of the 20th century is undisputed. He has been decorated with major awards and commendations within the field, and even his fellow artists are not hesitant to supply their praise. “Consider the case of Mark Morris, arguably the most celebrated American choreographer to have emerged in the past two decades. In 1995, the dance critic Tobi Tobias asked Morris the following questions: Tobias: Is there any choreographer producing work now whose concerts you always try to go to, and always expect to have a very interesting time? Morris: Merce Cunningham. Tobias: Anyone else?”5 Morris: No. 3 Ibid., 7. 4 San Diego Union Tribune, 26 January 2003. 5 Copeland, 2. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. That a choreographer of Morris’ stature so easily and reverentially refers to Cunningham as the most interesting around - over fifty years from the inception of the company - is a testament to the deep impact that Cunningham has had on contemporary dance. Cunningham’s stature and influence emerges from his extensive influence on contemporary technique and performance style, revolutionary choreographic techniques, and drastic innovations in regards to performance style and philosophy.6 This retrospective admiration from the dance field in the 21st century may be surprising to someone who stopped watching Cunningham’s career in the early 1950s.7 He was considered a “brash member of the avant-garde” in his early years, stunning audiences and encountering frequent unpleasant receptions from audiences unaccustomed to his unusual performance style, musical choices, and stage decor.8 But today, Cunningham is a recognized institution in the world of dance. It was the introduction of his unique theories and philosophies on dance that initially separated him from mainstream dance. But, the same theories that at first resulted in alienation and rejection have brought him to the level of acclaim he knows today. Jacques Derrida Another important figure of the latter part of the 20th century is the philosopher Jacques Derrida, the father of deconstruction, a form of post-structuralism philosophy. 6 Ibid. 7 San Diego Union Tribune, 26 January 2003. 8 The Washington Post, 16 October 2003.
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