University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations 5-2017 Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, Il Penseroso ed Il Moderato Mireille Radwan Dana University of Wisconsin - Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Dance Commons Recommended Citation Radwan Dana, Mireille, "Technical, Artistic, and Pedagogical Analysis of Mark Morris' L'Allegro, Il Penseroso ed Il Moderato" (2017). Theses and Dissertations. 1433. https://dc.uwm.edu/etd/1433 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. TECHNICAL, ARTISTIC, AND PEDAGOGICAL ANALYSIS OF MARK MORRIS’ L’ALLEGRO, IL PENSEROSO ED IL MODERATO by Mireille Radwan Dana A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Fine Arts in Dance at The University of Wisconsin-Milwaukee May 2017 ABSTRACT TECHNICAL, ARTISTIC, AND PEDAGOGICAL ANALYSIS OF MARK MORRIS’ L’ALLEGRO, IL PENSEROSO ED IL MODERATO by Mireille Radwan Dana The University of Wisconsin Milwaukee, 2017 Under the Supervision of Professor Marcia R. Parsons Abstract This thesis analyzes Mark Morris' choreography for pedagogical purposes. It explores Morris' technique and style by investigating one of his most acclaimed works: L'Allegro, il Penseroso ed il Moderato. Because this evening length piece offers a large selection of sections, a total of thirty-two, it provides many possibilities to investigate Morris' musicality, creative process, and style. The musical aspect of Morris' work is examined by focusing on how he often molds the dance to the musical score involving specific rhythms, canons and counterpoints. Analysis of his creative process investigates his use of individual and group work, with the implementation of complex choreographic systems. These contain intricate spatial and movement patterns and can reflect the musical structure of a specific composition or are created directly by Morris. Finally, the analysis of his style explores some of his characteristic forms utilized in L'Allegro with particular attention to detailed shapes and gestures, in addition to torso and foot work. For a greater insight, this thesis also includes interviews with Mark Morris, and some of his former company members who were part of the original production. These are Tina Fehlandt, June Omura, and Megan Williams. A second part of the thesis explores the pedagogical potential of L’Allegro’s material. The investigation is first conducted through the lens of Laban Movement Analysis (LMA), and then through the lens of LMA adaptations for ii younger student populations, as utilized in the dance education field, by the New York City based Dance Education Laboratory and Seattle based dance educator Anne Green Gilbert. iii © Copyright by Mireille Radwan Dana, 2017 All Rights Reserved iv TABLE OF CONTENT Abstract ........................................................................................................................................... ii List of Figures ............................................................................................................................... vii List of Tables ............................................................................................................................... viii Acknowledgements ........................................................................................................................ ix I. Overview ..................................................................................................................................... 1 Introduction ...................................................................................................................... 1 Background Information on Morris and Author. ............................................................. 3 Author’s dance training background .................................................................... 3 Mark Morris’ dance training background ........................................................... 10 II. L’Allegro, Il Penseroso ed il Moderato .................................................................................... 15 The History. ................................................................................................................... 15 III. Technical and Artistic Analysis of Morris’ Work in L’Allegro. ............................................ 28 Musical and Textual Elements ....................................................................................... 28 Working with musical structures: canon, counterpoint and polyrhythms ........... 28 Technical and artistic textual interactions ........................................................... 40 Choreographic Systems ................................................................................................. 54 Technical elements of spatial patterns ................................................................. 54 Technical elements of movement patterns .......................................................... 61 Technical Aspects of Morris’ Style ............................................................................... 66 IV. Pedagogical Analysis of L‘Allegro, il Penseroso ed il Moderato .......................................... 80 Through the Lens of Laban Movement Analysis .......................................................... 80 Through the Lens of Dance Education Laboratory ........................................................ 98 and Anne Green Gilbert’s Pedagogical.................................................................. 98 Adaptations of Laban Movement Analysis............................................................ 98 v Conclusion .................................................................................................................................. 107 Work Cited .................................................................................................................................. 109 Appendix A ................................................................................................................................. 114 William Blake’s watercolor illustrations of “L’Allegro” and “Il Penseroso.” ............ 114 Appendix B ................................................................................................................................. 133 Interview with Mark Morris......................................................................................... 134 Interview with Tina Fehlandt ....................................................................................... 146 Interview with June Omura .......................................................................................... 160 Interview with Megan Williams .................................................................................. 169 vi LIST OF FIGURES Figure 1. Obert, Mireille. "Spatial Path." 2016 ............................................................................. 59 Figure 2. Obert Mireille. “Choreographic System.” 2016 ............................................................ 60 Figure 3. Wickes, Donna. “Running Tanagra Figure.”................................................................. 67 Figure 4. Loren, Teri. “Forward Stretch. Second Progression on Left Foot.” .............................. 67 Figure 5. Scattergood, C. Edward. “Upper-Body Circles.” ......................................................... 68 Figure 6. Friedman, Ken. “Three Graces.” ................................................................................... 72 Wickes, Donna. “Waltzing Step.” Figure 7. Well, J. Christopher. “Mathematics-Geometry-The Platonic Solids.” .......................... 90 Figure 8. Thiriot Anne-Gaëlle. “Directions.” ............................................................................... 91 Figure 9. Fluty, Kristine instructor. “Octahedron.” ...................................................................... 92 Figure 10. Thiriot, Anne-Gaëlle. “Icosahedron.” ......................................................................... 92 Figure 11. Thiriot, Anne-Gaëlle. “Cube.”..................................................................................... 93 Figure 12. Obert, Mireille. “Spatial formation” 2017 ................................................................. 102 Figure 13. Obert, Mireille. “Spatial formation” 2017 ................................................................. 103 vii LIST OF TABLES Table 1. Strict canon with regular intervals .................................................................................. 30 Table 2. Strict canon with irregular intervals................................................................................ 30 Table 3. Strict canon in the Come and Trip It section .................................................................. 31 Table 4. Strict canon in the Populous Cities section .................................................................... 33 Table 5. Strict canon in the The Walking Duet section ................................................................. 35 Table 6. Counterpoint in the Day’s Garish Eye section ............................................................... 38 Table 7. Strict canon and polyrhythm in the Haste Thee Nymph section ....................................