MERCE CUNNINGHAM

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
dance
Мерс Каннингем
Paul Kaiser
Shelley Eshkar

Dancer Matthieu Chayrigues

Compagnie Centre National de Danse Contemporaine-Angers.

Photo: Charlotte Audureau.
BIPED

“Ever the experimentalist, Cunningham collaborated with digital artists Paul Kaiser and Shelley Eshkar using motion capture technology to create BIPED. As the name suggests it’s in its most basic sense an exploration of the biped, the ambulatory two-legged body.
Eshkar and Kaiser place a scrim in front of the dancers on which they project a moving décor of lines and patterns.” Lisa Traiger

Merce Cunningham

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
« Scenario » de Merce Cunningham
Rei Kawakubo’s humorous costumes toy with the idea of physical distortions, such as humps and big rear ends. They are in mostly vertical blue stripes on white, or in pale green and white-checkered patterns. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance. The bold electronic musical score is by Takehisa Kosugi.

merce cunningham

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
centennial
Joycetheater
The Joyce celebrates the centenary of Merce Cunningham, “one of the great iconoclasts in 20th-century art” (The New York Times), who would have turned 100 this year. Three superb companies perform masterworks from the artist’s vast repertory, each danced to live music.
photo:Dean Alexander

MERCE CUNNINGHAM

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
Мерс Каннингем
Nearly Ninety

Merce Cunningham and Olafur Eliasson

he Merce Cunningham performances, the final events of Dance Umbrella’s 25th Anniversary season and co-incidentally in MCDC’s 50th year, took place in the vast, 152 meter long Turbine Hall of the Tate Modern within the embracing environment of Olafur Eliasson’s The Weather Project.

Merce Cunningham

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
Beach Birds
dance

Cunningham said of his choreography for “Beach Birds“, “It is all based on individual physical phrasing. The dancers don’t have to be exactly together. They can dance like a flock of birds, when they suddenly take off.” A work for eleven dancers, the rhythm for “Beach Birds” was much more fluid than other Cunningham dances, so that the sections could differ in length from performance to performance. John Cage composed the music, and painter Marsha Skinner provided the costumes and décor.

Trisha Brown

Newark & M.G
La place de Trisha Brown dans l’histoire de la création Outre-Atlantique est unique : après Martha Graham et sa modern dance, Merce Cunningham qui dynamite les codes, Trisha Brown va s’imposer dans un courant, la danse postmodern qui a influencé nombre de chorégraphes actuels. La danse ici est jaillissante, faite de duos de plus en plus complexes avec bien sûr ce jeu des équilibres instables comme autant de coups d’arrêt au geste. Le plus souvent, sous nos yeux, un couple d’interprètes voit surgir un autre tandem dans un incessant jeu de déconstruction des lignes. Des marches, des courses, des dialogues féconds s’instaurent en scène. Newark est pour beaucoup une des grandes pièces de Trisha Brown.