マイケル·クラーク·カンパニー

STRAVINSKY Project 1
Melissa Hetherington

source: michaelclarkcompany
Michael Clark was born in Scotland and trained at the Royal Ballet School in London (1975 -1979). In 1979 joined Ballet Rambert, working primarily with Richard Alston. Later, attending a summer school with Merce Cunningham and John Cage led him to work with Karole Armitage, through whom he met Charles Atlas.
The first concert of his own choreography was in 1982 at London’s Riverside Studios, where he became resident choreographer. By 1984 Clark had made 16 original pieces.
Michael Clark and Company was launched in 1984. The company was an immediate success and toured internationally. During this time Clark collaborated with fashion designers Bodymap, artists Leigh Bowery and Trojan, as well as The Fall, Laibach, and Wire.
Clark’s commissions for major dance companies include the G.R.C.O.P., The Paris Opera, Scottish Ballet, London Festival Ballet, Ballet Rambert, Phoenix Dance Company and the Deutsche Oper Berlin. Clark has produced considerable work for film and video, including Hail the New Puritan (1984) and Because We Must (1989) with Charles Atlas. He also choreographed and danced the role of Caliban in Peter Greenaway’s Prospero’s Books (1991).
After three years of commissions and solo work he created the original version of Mmm… (1992) and O (1994). In 1998 he presented a new full-length work, current/SEE, in collaboration with Susan Stenger, Simon Pearson, Big Bottom, and Hussein Chalayan which became the subject of a BBC documentary directed by Sophie Fiennes, The Late Michael Clark.
Before and After: The Fall (2001) was Clark’s first major collaboration with the visual artist Sarah Lucas. In 2003 Clark created the first Satie Stud for William Trevitt of George Piper Dances, produced an evening entitled Would, Should, Can, Did, for the Barbican Theatre in London, and choreographed a solo for Mikhail Baryshnikov. In the same year, OH MY GODDESS opened London Dance Umbrella’s 25th anniversary season. In 2004 Rambert Dance Company revived SWAMP, which received the Olivier Award for Best New Dance Production in 2005.
In 2005 Michael Clark Company became an Artistic Associate of the Barbican Centre, London, and Clark embarked on the Stravinsky Project, a three-year collaboration to produce a trilogy of works to seminal dance scores by Igor Stravinsky. He radically reworked O and Mmm… for this project, and in 2007 he premiered the final instalment, I Do. The Stravinsky Project had its US premiere at the Lincoln Center, New York.
In June 2009 Clark premiered come, been and gone at La Biennale di Venezia, and the production has since toured internationally. In 2010 Michael Clark Company spent the summer in-residence at Tate Modern, London in preparation for a new, large-scale performance commission for the Turbine Hall. The production th premiered in June 2011.
In 2011 Robert Gordon University Aberdeen conferred on Michael Clark an Honorary Degree of Doctor of Arts (Hon DArt) in recognition of his distinguished career in the field of choreography and dance, and the first monograph on Michael Clark, celebrating the whole of his career to date, from the late 70s to the present was published by Violette Editions.
In 2012 Michael Clark presented WHO’S ZOO? a specially commissioned piece for the Whitney Biennial in New York, The Barrowlands Project in Glasgow, part of the London 2012 Festival, and a new theatrical work at the Barbican, London amongst other international venues.
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source: thelowry
Michael Clark Company’s critically acclaimed production come, been and gone is made primarily to the music of David Bowie. It also embraces the work of key collaborators, Lou Reed and Brian Eno, and touches on some of his influences, The Velvet Underground and Kraftwerk amongst others.
Michael Clark chose to become a choreographer believing that actions speak louder than words. He creates work which combines his classical integrity with a more complex, contemporary sensibility embracing virtue and vice, abandon and control, grace and embarrassment. He is renowned for his legendary collaborations with bands, fashion designers and visual artists including The Fall, Wire, BodyMap, Leigh Bowery, Trojan and Sarah Lucas.
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source: serralvespt
A Companhia de Michael Clark iniciou a sua actividade em 1984, com dois projectos: Do You Me? I Did e New Puritans. A Companhia tornou-se um sucesso imediato e viajou por todo o mundo apresentando Not H. air (1984) e Our Caca Phoney H. Our Caca Phoney H (1985). Através de colaborações com designers de moda Bodymap, Leigh Bowery e com o artista Trojan, Clark trouxe um elemento visual enriquecedor ao seu trabalho. O uso de música contemporânea e a integração de bandas como The Fall, Laibach e Wire expandiram quer o seu trabalho quer o seu público. No decorrer deste período, Clark desenvolveu trabalhos únicos, de grande escala para a sua companhia: No Fire Escape in Hell (1986), Because We Must (1987) e I Am Curious Orange (1988). Estes trabalhos foram apresentados em sessões esgotadas no Sadler’s Wells Theatre, em Londres e internacionalmente. Adicionalmente, a sua contribuição para companhias de dança de maior dimensão inclui projectos como Le French Revolting (1984) para G.R.C.O.P., Angel Food (1985) para a Ópera de Paris, Hail The Classical (1985) para o Ballet Escocês, Drop Your Pearls and Hog It, Girl (1986) para o London Festival Ballet, Swamp (1986) para o Ballet Rambert, Rights (1989) para a Phoenix Dance Company e Bog 3.0 (1992) para a Deutsche Oper Berlin.
“Durante quase 25 anos, Michael Clark tem vindo a redefinir a natureza e os limites da dança contemporânea. A sua coreografia perversamente prodigiosa e anárquica e a encenação escarnecida das suas performances vieram radicalizar a relação da dança consigo mesma e com o seu público. A chave do seu trabalho consiste na abertura às possibilidades consagradas pela música e pelas artes visuais. O conjunto de coreografias rigorosamente controladas e a música vibrante e pulsante é uma parte do modo como Clark trabalha com o vocabulário formal da dança clássica, reestruturando-o de fora através de um bombardeamento quase sensorial. A sua abordagem é cacófona, uma confusão explorada, uma contaminação visual e uma ruptura. O seu trabalho é igualmente rigoroso e magistral, sugerindo uma manobra palpável do seu meio, de uma forma que vai para além do puro movimento para envolver uma plasticidade extensa.” Suzanne Cotter.
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source: lookatmeru
Бауэри сосредоточился на создании своего неповторимого образа: в последующие годы он сам придумывал, кроил, шил и носил экстравагантную одежду, наряжаясь для любого публичного выхода. Правда, в качестве исключения Бауэри создавал костюмы для своих друзей. Так, он придумывал наряды для певицы-транссексуала Ланы Пэллэй и танцоров, с которыми выступал хореограф Майкл Кларк (друг Бауэри), совмещавший классический танец с современным.
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source: barbicanorguk

Michael Clark’s three year project Stravinsky Project culminates with a new work, I do, presented alongside O and Mmm… in one highly charged evening. I do, set to Les Noces, concludes Clark’s dialogue with Stravinsky in the affirmative, confirming and celebrating the marraige between classicism and modernism, tradition and innovation – a marriage which is at the heart of both Stravinsky’s music and Clark’s compelling choreography.

All three Stravinsky scores will be performed live: Apollo by the Britten Sinfonia; The Rite of Spring staged to Stravinsky’s arrangement for piano duet; and Les Noces features the New London Chamber Choir.
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source: kaleidoscope-press

O (2005), the first work in Clark’s recent “Stravinsky Project,” (completed 2007) opened with the image of a single dancer inside a mirrored cube. Like the patch of white light in part I, this image summoned the enclosed space of the studio, nodding reflexively to the solipsism of a dancer’s, or an artist’s, endeavor. By proposing an image of the studio as part of his performances—the wooden ballet barre also features in recent work—Clark challenges performance’s necessary publicness (and the inevitably social aspect of choreographing for a company), exploring the aspect of learning and making dance that is a fundamentally private activity. In fact, one of the most compelling things about Clark’s work is the sense that it derives from an inner and innate impulse towards movement.
At first, I understood the daily theater of the Michael Clark Company studio, relocated to Tate’s Turbine Hall during their seven-week residency, as a revelation of process. Looking at the broken-down steps and phrases performed often at walk-through speed brought me to a new understanding of Yvonne Rainer’s famous statement from the 1960s: “Dance is hard to see.” Through the warm-up, daily classes (Cunningham or ballet technique), and rehearsals, the lexicon of physical movement and training of the dancers’ capacities, which are often spectacularly subsumed by the speed of changing form onstage, were demonstrated with new clarity.
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source: bbccouk

Michael Clark created Mmm… set to Stravinsky’s The Rite Of Spring in 1992. Two years later he developed O, a new work centring on Stravinsky’s Apollo. It wasn’t until much later the Stravinsky Project emerged as the trilogy seen today.
Clark’s first introduction to The Rite Of Spring happened when working with Richard Alston, a choreographer whose company regularly visits the county. “Richard Alston’s Rite Of Spring is where it got under my skin, but I was one of these really annoying dancers that was always right and everyone else is wrong,” said Clark. “The Rite Of Spring was the one I made first and frankly, I thought I could do a better job than all the versions I’d seen. I thought I could meet the music. “Dance can be technically challenging and very much of this time that we’re in. I think when he [Stravinsky] wrote that music he was years ahead of everyone making dance at that time. He must have struggled with it.