マイケル·クラーク·カンパニー

New Puritans

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.