Dance Techniques 2010

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194 Conclusion Sabine Huschka Conclusion In class, Roberts’s objective is to teach and nurture the performance experience, and to impart a passion for spatial–temporal movement design. A constant engagement with the material and a ‘readiness to learn more’ characterizes not only Roberts as a teacher, but also what he demands from students. After all, Cunningham Technique, whether talking about the simple or the profound components, cannot be mastered. The only thing that can be mastered is an ever–open attitude towards change. Students are taught a paradox: The technique should teach them about movement, and, at the same time, about moving beyond the technique. Two closing comments from the student Dorota Lecka explain this further: “What I find particularly exciting is experiencing dance in a totally different way. Even if the technique might initially feel stiff, strange, inorganic, or too rigid, after a while it becomes very organic, very clear, and the structural lines of the body become clearer from day–to–day. It makes you aware of each body part and joint. Dancers can do whatever they want after that because they have the freedom; their bodies are awake, ready, and well prepared for any kind of movement, even for Release movements.” “Students often get lost, lose direction, the rhythm, coordination, their perspective…then, most of the time, one more repetition of the exercise is required, or another ‘attempt’ is postponed for another day. What I find extremely interesting in this way of teaching is that students are constantly challenged. These challenges are linked to positive rather than negative encouragement. Even if one is not able to repeat the exercise, one can sense an atmosphere of ‘new skills’. Even if everybody ‘failed’ because nobody could repeat and perform a certain exercise properly, Roberts’s approach challenges students positively, encourages them, and makes them eager to tackle and overcome his or her own limitations.”
Daniel Roberts — Cunningham Technique 195 Literature Cage, John Silence: Lectures and Writings Middletown (CT): Wesleyan University Press, 1973 Carroll, Noel | Banes, Sally “Cunningham and Duchamps” In: Ballett Review, 2 / 1983, pp. 73–79 Charles, Daniel “Au-delà de l’aléa: Jenseits der Aleatorik.” In: Barck, Karlheinzl | Gente, Peter (Ed.) Aisthesis: Wahrnehmung heute oder Perspektiven einer anderen Ästhetik. Leipzig: Reclam Verlag, 1991, pp. 322–331 Copeland, Roger Merce Cunningham: The Modernizing of Modern Dance New York / London: Routledge, 2004 Cunningham, Merce in The John Tusa Interview [Transcript] 2008 www.bbc.co.uk / radio3 / johntusainterview / cunningham_transcript.shtml (accessed on 08 / 25 / 2010) Cunningham, Merce Der Tänzer und der Tanz Published by Jacqueline Lesschaeve Frankfurt a. M.: Dieter Fricke Verlag, 1986 Cunningham, Merce “The Function of a Technique for Dance” In: Contact Quarterly. A Vehical for moving Ideas, 7 / 1982, pp. 7–9 (First published in: Sorell, Walter (Ed.): The Dance has many Faces. Cleveland / New York: The World Publishing Company, 1951, pp. 250–255) Cunningham, Merce Changes: Notes on Choreography Published byFrances Starr New York: Something Else Press, 1968 Fiedeler, Frank Die Monde des I Ging: Symbolschöpfung und Evolution München: Eugen Diederichs Verlag, 1988 Forti, Simone Handbook in Motion: An Account of an ongoing personal Discourse and its Manifestation in Dance New York: New York University Press, 1974 Foster, Susan Leigh Reading Dancing: Bodies and Subjects in Contemporary American Dance Berkeley / Los Angeles: University of California Press, 1986 Gil, José “The Dancer’s Body” In: Massumi, Brian (Ed.): A shock to thought: Expressions after Deleuze & Guattari London / New York: Routledge, 2002, pp. 117–148 Huschka, Sabine “Subjekt-Körper-Leere: Diamanten: Merce Cunningham zum 90. Geburtstag” In: corpus, 12 / 2008, www.corpusweb.net (accessed on 08 / 25 / 2010) Huschka, Sabine Merce Cunningham und der Moderne Tanz: Körperkonzepte, Choreographie und Tanzästhetik Würzburg: Königshausen & Neumann, 2000 Katz, Vincent Black Mountain College Cambridge / MA: MIT Press, 2002 Anne Seymour “Foreword” in Anthony d’Offay: Dancers on a Plane: Cage–Cunningham–Johns New York: A. A. Knopf in association with Anthony d’Offay Gallery, 1990, pp. 9–12. d’Offay, Anthony Freundschaften: Cage, Cunningham, Johns Bonn: Edition Cantz, 1991 Vaughan, David Merce Cunningham Fifty Years New York: Aperture, 1997 Vaughan, David (Moderator) “Cunningham and his Dancers. Transcript of a Discussion with Carolyn Brown, Douglas Dunn, Viola Farber, Steve Paxton, Marianne Preger-Simon, Valda Setterfield, and Gus Solomon.” In: Ballett Review, 3 / 1987 Republished in: Kostelanetz, Richard (Ed.): Merce Cunningham: Dancing in Space and Time. Chicago: cappella books, 1992, pp. 101–123 Links www.merce.org / mondayswithmerce.html dlib.nyu.edu / merce / mwm / 2008-01-12 Training DVDs Elementary Level Directed by Merce Cunningham and Elliot Caplan Commentary by Merce Cunningham Instructors: Susan Alexander, Ruth Barnes, Merce Cunningham, June Finch, Susana Hayman–Chaffey, Chris Komar Dancers: Allison Cutri, Jill Diamond, Nancy Langsner, Kate Troughton Produced by Cunningham Dance Foundation, copyright 1985 Intermediate Level Directed by Merce Cunningham and Elliot Caplan Commentary by Merce Cunningham Instructors: Merce Cunningham, Diane Frank, Catherine Kerr, Chris Komar, Robert Kovich, Rob Remley Dancers: Heidi Kreusch, David Kulick, Larissa McGoldrick, Dennis O’Connor, Yukie Okutama, Carol Teitelbaum Produced by Cunningham Dance Foundation, copyright 1987 Han, Byong-Chul Abwesen Berlin: Merve Verlag, 2007
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Table of Contents 166 Sabine Huschk
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Foreword 9 dance scene (Freie Tanzs
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Introduction 11 Background and star
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Introduction 13 time, to go beyond
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Introduction 15 individual, sensed,
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Introduction 17 in Cologne), as wel
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Introduction 19 Supplementary Contr
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Introduction 21 Digital documentati
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Introduction 23 The years to come w
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Research Questions 25 Concept and I
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Research Questions 27 Teaching: Pri
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30 Background Influenced by Ruth Cu
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32 Interview Alan Danielson Intervi
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34 Interview contract. But what I w
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36 Introduction Maren Witte Introdu
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38 Historical Context Maren Witte H
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Alan Danielson — Humphrey/Limón
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60 Background Influenced by Alexand
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62 Interview Anouk van Dijk Intervi
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64 Interview Do you follow a stri
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66 Introduction Gerald Siegmund, An
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68 Introduction the central axis. T
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70 Historical Context Gerald Siegmu
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72 Historical Context affiliation,
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Anouk van Dijk — Countertechnique
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92 Background Influenced by Limón
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94 Interview Barbara Passow Intervi
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96 Interview When do you consider
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Barbara Passow — Jooss-Leeder Tec
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102 Historical Context Claudia Flei
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104 Historical Context to the Folkw
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106 Historical Context stretches an
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108 Concept and Ideology was mindfu
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110 Understanding the Body / Moveme
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116 Teaching: Principles and Method
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124 Barbara Passow — Jooss-Leeder
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Observation Techniques 127 methods
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Observation Techniques 129 comprise
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Observation Techniques 131 ends so
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Observation Techniques 133 body’s
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Observation Techniques 135 Literatu
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Working Somatically 137 Trisha Brow
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Working Somatically 139 Work on the
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Working Somatically 141 bible for g
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Page 147 and 148: Dance Techniques and Lives 147 Patr
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Page 157 and 158: Dance Techniques and Lives 157 depa
Page 159 and 160: P.A.R.T.S. — Contemporary Positio
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Page 167 and 168: Daniel Roberts Cunningham Technique
Page 169 and 170: Daniel Roberts — Cunningham Techn
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Page 200 and 201: 200 Interview Gill Clarke Interview
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Page 204 and 205: 204 Introduction Gill Clarke, Franz
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Page 208 and 209: 208 Historical Context Gill Clarke,
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Page 212 and 213: 212 Concept and Ideology Gill Clark
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Page 232 and 233: 232 Background Influenced by Lao Ts
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Page 238 and 239: 238 Introduction Yvonne Hardt, Vera
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244 Concept and Ideology Yvonne Har
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246 Concept and Ideology Space has
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248 Concept and Ideology Thus the t
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Jennifer Muller — Muller Techniqu
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266 Background Robert Rauschenberg
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268 Interview Lance Gries Interview
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270 Interview compilation of quotat
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272 Introduction Gabriele Wittmann,
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274 Historical Context Gabriele Wit
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276 Historical Context ‘Trisha Br
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278 Historical Context Individual A
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280 Concept and Ideology The concep
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Lance Gries — Release and Alignme
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Who’s Who 297 Ingo Diehl studied
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Who’s Who 299 Friederike Lampert,
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Who’s Who 301 Yoann Trellu is a m
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Credits 303 List of illustrations P
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