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 brilliant lighting
form. Exaggerating the size of the dancer's skirt, and using
effects 1*ni.n she invented and patented) to
transform herself and her props
color, Fuller (who had been
and costumes into moving s.rlpiures of light and
anactress/playwright/manager/anddancer)maderadicalchangesinart
choreog-
iurr.". Many oi tn"L would be rejected by early twentieth-century
for instance, Fuller es-
raphers, and would remain latent until the 796Os:
virtuosic
chewed the projection of emotion or personality of lhe.performer,
physiiat beauty in the dancer'
dance technique, and even the appreciation of
the image an object
Instead, she made the central focus of the performance -
The movement that was
she created with fabrics, sticks, lights, and shadows'
correct movement' There
required to create the desired visual effect was the
was
w"." .arely narratives in Fuller's dances; the text of the performance nor
wore neither tights
the physical creation of an objective presence. Fuller
corset, and her feet were either bare or shod in
flat slippers. when she danced
differences be-
with a group, she planned the dances so that the individual
She often used un-
tween ih" *ry, the dancers moved, would be preserved'
a wide range of
trained dancers in her works, and she gave her performers
she created''
movement choices within the preset, imagistic frameworks
Loie Fuller, was an-
Isadora Duncan, a Californian born fifteen years after
A;"rican dancer who triumphed in Europe. Even before she saw
"th;;
Fuller,s marvelous organic shapes in Paris in7899, Duncan
had been inspired
of the seasons
by the motions of naiural things - waves, trees, the cycles -
,,natural" movement expression in the human body, outside the re-
to rir,a a
barelegged, barefoot'
stricting codes and costumes of ih" ballet. She danced
in loose robes, using the fluid, simple movements suggested by
figures on
aroused by the music of seri-
Greek vases, inspireJ by the profound emotions
ous composers like Blethoven, Schubert, and Chopin. She
built simple
most basic of locomotor
dances with elemental, repetitive structures and the
steps. Duncan (who first ioured Europe under
Fuller's auspices) emphasized
ih. p".ro.ral in dance, in both the format of her concerts, which were often
solo, and their meaning, which was expressive of deep, individualized
emotions.
and emotion lay in
Duncan believed that the source of human movement
the whole body in dance,
the solar plexus, a principle that dictated the use of
peripheral deployment of
from the center outward, in contrast to the balletic,
was not improvised'
the arms and legs. Apparently Duncan's choreography
but followed a fixed pir". g"i surely her charismatic stage presence imbued

TERpslcHoRe tN SNeRreRs
 :NOII)ncourNI
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 "self-con-
points out' they were. heroines of a twentieth-century Graham and
Johnston Both
scious recognition, confrontation' 'J '""f"tion'"n
*ottt'ittli" G"t"tuty; used space theatrically
Humphrey (and MariWi;;'"' or distortion' of
themva;;::;;;;"s. Both'used an absiraction,
to express thei. of
cycle on which tn"' U"ift lomnlex superstructures
the natural breath - c'ould pull the body
J"J'y"tux' For C"nl"t' tne breath
dance vocabularie' psychological
foriato.,, dramatizing
into contraction and release, "rtr"*" F"t H;;;hrey' the breath
pulled the body
connotation, or pui'iu^i *'iu'y' )iiutir" stable positions of
out of two possib; ilil";a'ry-Uoiil -the asym-
;;-i;i"t down fall and recovery' creating an
standing upright -]",to the so-
designs of interest and signified
metric arc that b",i1;;; theatrical
cialtriumpr."rn,*,"tindoverinertia.Thecostumesusedbybothofthese
Their
U"ff"it illusion of transcending it' by
choreograph""*"'"relativelyaustere'butstillexpressive'Thedancesex-
gravity,
ploited rhythms of an age fascinated
rhythms were '^"*;;;;itempting
the iaggid''";;;;;
""*'r'"
;";a;; and h-orrors of machines'
iazz and'tr," pot"'ii"i Louis H"*' 'a"cated choreography
based on
Graham's *"';;i;t;"tto''
thethemati..or'",",'.eandvariationofpreclassicdanceforms.Thesewere centuries'
court dances ;";"6;; in the riri"*tt through seventeenth and the
the hasty" gigue'
such as the maiestic yet
simpft pu'ut"' in" ';not a-nd structure
g"tti;i il;;;od had its form' and the rhvthmic
sparkling, uti'rt the content of
;;;';t'" dramatic requirements of
in combinatit" 'v*u"ric'- became codified
dr";;;ti; ri u ,o.uuulary whictr eventuallv
the modern
i;?.1 design' rhlth.m' dvnamics'
a"d
T:-
ffiilffi:;:.f:'f;,::;Ili;;"
were the structulin;f;;"t of a dance' As she looked to
tivations and gestures as a move-
ar^g"ioiit .o.,rtu^t fall and recovery of equilibrium in
the kinetic required
to;e "
;;of social existence, so the awmmetry
ment analogue
her four aspects of dance structure
J;;;;;"J *"tuphoricallv (and in the-
atricalterms,aswell)tothe,,..".oi...yandvarietyofmodernlife.To
was to' make a dance that
was
Humphrey, tt'" *o"i 'itt
fot a choreographer
the architecture of nat-
too stable, *o"*"o's'
or symm"t;;' ;i" analyzed Although
ural forms, but always expressed
,l; i; terms'of human usage'
like exaggera-
more
stylized ,v*uolic, her gestures seemed readily associates
"r,orghi;'ii"l our culture
tions of the naturally expressir" -o""-*ents gestures. of
certai^ ;;;;l ,tut"r, ttru" t"r," t igr,ry specific, symbolic meaning
with i)'""ui'in order to grasp the
the Graham vocabulary' which "';;
of the dance'u
TeRpstcuonr tN SNrereRs
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aql Jo Weap aqI 'Mau arar* (uoyoH Jalsa'I pue 'srrrtuel'urloH e'(uug uror;
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 from1e3e to le.S-'offered a fresh T[f:U:'+iff"jil;
ham's companv dan e paral-
;:i":H i ;ii o
"' "
i c

illTthose
:1 ff lfil u"a
*{^1tf
fl
'"T
"illl t""'1;$1!;i
t"""'";Ji"n-"
Ieled
made tn.
"'
i"'i"t,,i
=
rouo*in*^.i'i*'','l ill}ff[:T;:i.:l]ji'"", *rt i!:i:l'
or parts or

,* 0.1 u" * o'l",fiu" d:ili:." [T;',;;; arat"';;;

"
s),
:] ]rft liill,Ti,d
rim itat io n

their own se p

[:f flr."?lt: :"ffi ^&;avc l't'r". u " f ance

ill;"il::iliT"-#='il,'+ffi '1":;rii:il*;ilifl Y"tl'f '::"''

begin"'t:;;;;;lt"
nriri'oJJ, iJ*'"putu-
about,n" ""u.n'-Iou"*ents' erentrv
Fo,C",.,i','Ji.,',,"',ri33i11:j;fJ"-il:.1",*,Ti:';il;;ii''diff
lrir" r"ut"es Jo crelj;lilt:Tl;:'tliffl;i
and it comes
the b"odv'
ur"iro*
*5 Yg" a"" : .lTj":::,".:::'l';1:ffi ; r" u"''
"iil ","i rme d bv te chnicarlv
when moveme.t,"":::: *:i,"j:l of movements rr rro e

-,ao out expressiv'<: and

a Cunningh;H;;'l :i#XTX'i,h;;"try
tffi1.'1T:;l::m:r11=;;""o'u'r'lv:::**l;;l3l[:1tr;:x
as one would
never
own qualit';;;;;';1":''i"-'j dances
;%?":,tymU:,Hff::fl;1l" * 1":::, or Cunningham's
h,' ul;' ;;h "' : ;'1", *'ilffiT' "'** t::* +i1 Iff ut"
up p
u
[ ;':
example' ti;;ttu*
" tn"
tor theoretical'"u'o"''ilt-i"t"i"gt'1*' l"
"
111:t'
and
lack of time
tu"'" of a
jt*:..i. *: ffi
rere nt, J; ;u,',, "i, ", " ::[l:,T:,I'f iiT ;i:i: "il]
" " *"t"t' events
*itno'itlo""tio"aing-directly
to""tutio""oi wiln the music' v"t' simur-
fouowing:I.con'"'Jns
i. * ;'.;1 ;""'j'
|e il:::r:::'#'"i'**'
;.- ; ov era,
't'" ::"):::
ct Cu n- rre
*iff : :1". TI;;: il" i,"
e
in rhy th ml
taneously i., ,tt" au"ttlB'
T',, have incluu"u l"tt" 7u?"'David
."*r"'"tt
collaboraiot
ningham' whose
o n rmzn, tn;li'" "
* 3i c' t'1"1i;:lm:";',X:t^t"1}i:
rudo r, r rr, u. :,
'f'ffff :l'::{:,T::T:*t"tiil**1;:;:lU:
ffi H;liil#f ;
:: 1" :: ", ;*;
j,::I
*ql^t=;iffi
;::,f select from' or tt"'I'J
'll:fil:;'rffi
interpret
nn"a*"i,r"
thatv'r{il":J:;JJ";
rtr" o, our wits
them' and
at anv given moment
'"q"i'"'
we have Planned
rarelY ;;';;;; i
ii
1

tN SNe arERS t
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slrl Jo Llrxaldwor pue paads aqJ 'saspJqd aql ;o uolJ€ulruJalap snoaueluods
Jo sJaJupp aql ,(q uollesrnordrur JoJ PaMollE d.1are.r seq urerSord s,rueqSutu
-un] lng 'luaraJJrp ,(11e1o1 aq ,(eu uorlEurqruof, Jo a)uanbas aql atull lxau
aql aluls 's1red dpoq go suollpulquroJ Jo sluarualotu ;o saruanbas o] PaqlellP
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Jo raqurnu aql 'a8els uo sJaJuEp aql lnd o1 sareld aql 'aruep e ut sase.rqd
;o aruanbas aqJ 'aserqd e ut sluaualoru Jo rapJo aql aulurJalap ol ruopueJlE
sp.rer Surlcrd ro arrp Jo sulof, Sulssol a>lII spor{}aru aJuer{f, asn r(eru aH '$lJoM
slr{ ul d,qrnurluoJ pue cr3o1 leriirt{a iaruaba.ril uieq8uruun3 '1or1uoo Jo spul{
urEgaf, Surqsrnburlar alrqM tualsr(s Ief,ruqf,al-aruep e ulLIllM 3urd.els Lq la1
'arueq a8els tunruarso.rd p Jo spueruap aql ro 'a;n1lnr1s lerrSoloqodsd
e '[ro1s e 'a.rn1lnr1s le)lsnur e Jar{lla smolloJ }Br{} }uauanolu af,uep ;o dltltqe
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Jo soeqf, Suuapprvraq aql Jo lno rapro leuosrad Jo puII aruos aleru ol fut ol
'raqloue aas pue 3u1q1 auo JEaq ol 'alnutul ]sEI aql 1e sueyd a8ueqr ol suearrl
 the post-modernists of the '60s, either because
their own ideas about dancing
departed drasticary from the mainstream,_
or simpry because they offered
performing and choreographing situations
fo, yor.rg iu.r.".r. James waring
(7922-7975) was a choreographer
and designe. ;i;;" dances sometimes
Iooked Iike Cunningham's
- with
formats, disconnected structures
their decJntrurizei use of space, corage
but baretic .r.;i;;; _ but his method
based on intuition rather than chance. was
waring abanloned narrative and dra_
matic structure in the mid-1g50s, creating
atmospheres (often nostargic),
ferring Iovingly and archly to variety re_
danli.,g ,j b;il,, and mixing
as well as dancing styres (incruding musical
ordinary and idiosyncratic gestures).
waring was a gentre humorist, sometimes
parodying other dance genres,
often close to camp. Never abre to support
a fuil-time .-o*pr.,y, he neverthe_
Iess gave concerts. of his work regurarry
from tssq to-tizi. o..,o.,, those who
performed with him were Toby
Armour, Lucinda Childs, David Gordon,
Deborah Hay, Fred Herko, yronne
Rainer, and Vardaietterriera. In
7950s, waring gave composition the rate
classes and organized concerts
phy by his students at the Living Theater of choreogra_
in r9s9 and 1900.
Aileen passloff. waring's .o.,tur.,po.ary,
appeared in some of his works
and shared a studio with him at times.
she began choreographing in the
l9sos, often to avant-garde music, incruding rate
Richard Maxfierd. she used such dancers
*:".t, u, i" Monte young and
as setterfierd, Gordon, Armour,
Barbara Dilrey Lloyd, Louis Farco,
and Burt supree, uJl",, and
waring, Remy Charrip, and Claes ordenburg costumes by
some of waring's, nostargic tributes
s";;;ih"r dances are, Iike
to great memories of bailet, or fork
dance' others were resorutery modernist. ,,croser
to caristhenics than chore_
ography," sniffed a Time magazine
critic in 7960.,o Critics comprained
Passloff's body looked too short because
and thick to be dancerry. But yvonne
remembers thai when she saw passroff Rainer
perform rr, ,-;;i; pahz of Hoon
Living Theater in 7960, she rearized at the
that there was a .r,rrtitrd" of possibirities
for the look of dancers' bodies, and that
her own ,,.hr.rky construction,,
might do weil."
Although Ann Harprin worked primariry
on the west Coast after 1955,
had a far-reachins imlac! on .ho."ography she
in New yo.t tn.orgh her stu_
dents' Halprin had studied_kinesiorogi,
a.,utomy, and improvisation with
teacher Margaret H'Doubler at the her
Ijniversity wi;:;rsin in the
7940s'" Halprin's use of improvisation, "f srow or
tasks, and
early
movements influenced simone Forti, often_repeated
who stuiie;;;l".ro._"a with Har_

8 TenpsrcHoRE tr.t SrveaxeRs

 3f NVC NU:lcoIAI -rs ocl lo slf, unos : Nolrf, noourNl

ruSrpeJed e palearl
arllua aql roJ oslB ]nq sSuruaddell ralPl aql roy '(po 1ou
uP uo af,Iot{r slr{
puq (s1a1oerq aurp lllrls uIqlIM IIP - auoqdouer8 p1o
yo s3urprorar par(u1d pue sBuliured srq paMoqs
Sraquaqrsn,U Uaqog 'fu1aod
rlar{} ppar uoslo salrPt{J PuP sPretlf,l5
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tr

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ro-'ut pareadde uauo-
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 Cage was inspired
by Antonin
or so' and
next twentY Ygars'
avant-garde for the chance operations'
Artaud's theatrical ';;;"M;;:;r''oucfta'#'
"t'" "1 Cage synthesized
do.t,i,i"^o"f ,.o."u,l,ation'
philosophe;;;;-;.,, (" ;;; allv
sTii";"fi
the Zen
the avant- g"a"'t'ui't
]l i-r't"i'* avant-garde u
B'r i'ti

that gener il tTtTI "!

t'"ut" an American
and Dadaism to
music,theater,a'^t"'o''"ting'poetry';;;;ilastheGssdefinablecategortes
:*,i:t",u:r-:;"il:iil*i#r:ixfl#"l::;J:*,1'"J,;',:'",.'i":fr
im D ine:
;;li,;i; tlu"' o'* "' Claes
:',.ffi' :il"T,'I'il"'tollu'"' of te'xtures and images'
r ut i o r

ili' *:ff i :'.:Tp""rl;;;;" building with comic

used obiect' u' or material
motion, .,u^Jro.i.,ed scale of the whole'
oldenburg ,". "ui"o,1n ;n" *"'[ over the comp^osition
results, u"tpttu'i'Jl';,";;;i than narrative' structure in his
works'
and used u" u"otiti'-"' process of dematertaliza-
'uttt"t
.,"* visual art, was in a
The new rn"u,"r,-irx.'th" Jo'ifut"d
tion' When *'ilt;;;
": q't"1'-"' "::?ii:T:l["iliTiT
"*"
:*#J**::*i:::':::*T"'""'THl;"I"TT'"G:*#*,il1;i:,;
;; ;;'y : ii"#
i*,. in th e * "[; .t :; artwork
of the as a m*: f ii:'il1 ; ::li]li'"|:
and
"
r-omantic notion values.of craftsmanship
and repetitior,'r.,a"'cut mate-
strategies or *orio,..," ,.4" ttiinary' at times industrial'theater'
compositio". ,n'i"r]"';ih;# ^"u into- paintine' sculpture'
;;";
*otuauy itselr at war
rials brought '^=":'in-''' ,r,.&11'i.yl;*jt:lterlsetting
and also into dan-cf.
ar'rirrur move-
rt'r'lr''"r Fried")' the corresponding
with modett'i""'i]'
;t;;; and shifting
1o
focusing. it." ,o".tator,s perceptionsrepressing the
ment in dance, *t,,i" "r," "^ bv both
].ffi; *",1"J,;J!."0r1""*-""i to an ob-
points of view, ;h;;;t''' aid thrusting it closer
elements 'f
theatricallv ".';";;;;
serving both
;;;r; identity' of post-modern dance by
' M"tt" Cunningha- ilnitfllt'u,ror, rch
to be criticized'
innovat'tort""*and as u,t ut'tno'ity
for further ;;*""t *ut to have Robert
as an inspiration
did to spawn the new movemer ied
what Cunningham jjffi *,
Dunnteach";ffi;:il;4'ryr-;:."::U';1,' "llffi
*il;:i:l'*:,#:#l:,"r#:::i::::*'il*::":::ffi
schoor. ii" irought
C.age';";;;r;-;;peciallv
those- concerned
with
H" ul'o analyzed Erik
New
into his dancj .""*.rn'n class'
'.:',''"
chance pro."ar."r,

SNenreRs
10 TeRPstcHone tN
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altml
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ParJ s'uosrau:l r{}n1, 'urerSord
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e PuE u'
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,"pr*i,,r**rr*
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t:i:l:P*
spM rrr*{M 1o 11' Ir.:;"-"r;n slq uI
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aql arE 1'q14

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ol raMsu' ul
p"'oa xe"11oi"nr8 pue
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pu' spun:s sraquraur
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pallrurrad 'ql '"'oien't"o 'n* uuno qog raqJeal
Surlqurer alq,ulruralul PaMolle '11
:sllPrar uunc qlrPni
aulEIS PrrE
,"sJaruruns
'umorg SurpnPur 'sluedr:c
xaly 'uop'r:?,Pneo :T-ti'I reaA puo
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]l'""o.,i'o"r'uoqd11y q]n11'ra]e1'raulsu
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"n
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 iu,ay Deborah Hay; Dillertisse-
Herko(whodiedinLg64);TransitandProxybyStevePaxton;Helen,sDance
co,ao,';.noJi
andMannequin oon,,:;]o,,,a 3 P;;;;;'and a'Arms
bv Yvonne Rainer'
ment, ordino'o oo""'":^;;';';
f* Mcfowell' Gretchen
There were danc"''ti'
wi,iam'Davis'l;;" "";;t'
a collaboration by
Alex Hay'
il til" s'^*""'
Mclane, Carol st"trit""' *"ri.iv lot'" cag.e''o Yvonne
Rainer'
Deborah Hay, and #;;L;i;*11"".a rt"a "auditioned" for the use
i'.it" R"th;;;;t"
who along with steie '"a
of the church, recalls:

to end in the un-aircondi-

Thefirstconcertofdanceturnedouttobeathree-hourmarathonforacapac-
sitting from beginning at nu-
ity audience;';;;; hid b::l'h'mmered out
tioned eo'h;';;" 'i""i"^ "r;;;;;;;
I re-
Herko on roller skates;
merousg'b--;""iotts'withBtb'"I5;;asthecool-headedprowofa
I';;;;"'it"a
ship ' ' '
sometimes o'"'-tt"'t"a
memberJon"u"tu"rtMcDowei*;il;J'ott.ut'amirror;Iremember
DeborahHuyt'ouuti.'garound*'.i-.,'.."iningaroundherknees;Iremem-
il^;;"lt *itaty ecstatic after-
berdoing*,o*^ordinaryo.^,,*)1,i.^ember-beinginStevePaxton,sProry
with ttighting designer] J",',.ir",,r,iJ;;;.
wards,andwithgoodreason'A,ij";;;*theenthusiasmoftheaudience,the
we
*"dern dancer before' Here
churchseemedapositivealte.rnativetotheonce-a-yearhire-a-hallmodeof
ttt"Jt"t
operating oi"'ued'the
.ouldp."s".rtttingr*or"fr"q.r'";;ir:;;*informally,andmorecheaply'
more cooperatively'''
and "#*i
most
all
important of -
- (as
their own choreography before
Those on the program
*1" "ufp"""a
:hown Waring's program at
had'hi*
eith"' on
had Rainer, fo' iiltu*e)
{am;sroutes: hiring a hall or
i*. standard
the Living Th",.,J;,;Jiorro*"a;t:
given
concerts of work by young choreographers
auditioning ro, ti."
u^rrrur
;;ll"^'"y*,tm,:H#":I.,Lrl,:::::::lrJ::^*[":'",':#i:l-
and Ruth
Elizabeth Keen'
The danc"' *"'"^O]'"i**""' a
stock, New York' Gross contributed
u"a r-l"u'it r'"itu'' I'"""ik;;;;'u'''i suttv
Emerson;
.XlXl;il":'J:"jlT;'^iu'1.1"::":l::"*:il:Ji'.1'"X#:::'1il'
coliective
studio' Later' the new
meetings ;a il;;
Rainer called fo, *""Uy
workshop,,"^i"'*Ji'"it'"I'J';'^;h;;""11oa'concertwasheldonJan-In April' Rainer
p'?gT; o" tn" following night'
tary 29,1963'.-Aa
fourth or the group-bv
gave her
'""*u"'I
"'"''f;:;;l-il"'ti'ilil;;^;""""
Lz TeRPstcuonr tN SNeareRs
gI efNVCNtIsoOIAtr-IsOd:IOSlfunos :NoIlf,nCOuINI

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PaMoJJEu IIISILIJS
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alqe+ou raq}o
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uraPoru uI
-Erl ue ol salllPuralle;o fuolslq aql lnoqP alqea8paptoul PUE uE
'a3e1ln q)IMuaaJD ut 'qrrnqr
sasIJJ aql Jo aJEME ,(1a1nce aJuaIPnE uB sPM 11
aq] Jo potqroqq8lau aql uI PaAII oqrvt aldoad 'spnpa11a1ur 'sraletu
urllJ
,SJalrJM ,sralUep 'SUelllSnUt 'SralUted 'SlSrpe oSIE aJaM Saf,UaIpnB aql PUV
PInof, af,uEP lPqM lnoqP
'z'aq
tuorJ sEaPI 8ul}rBra}ul Jo uols
sapnlqlp r*au dn pauado lBr{} splarJ;o ,Qar.ren P

-o1dxa aql sEM ll ler{} }no Sutlutoi'tOZOt aq} ul slred luepod

se
'(11eruo1srq
uospn{ aql aH '}I 1nd
-urr se ,1ir1r, ;o Sutlaatu B se uollenps lvtPs 11amogr61
d'ldurls arueJ or{r* a1doa4" 'qder8
uaqraH uqol sP ,,'ur papns 1oB Punore
uopdurnsa;d
-oaJor{f, uala lnq aJuBP ,(1uo lou PIno) ',(aq1 luql sJa)uePuou 'tq
doqsryoM aql
aql sB IIaM sE 'sarald aJuPP uI sraJuePuou Jo asn aql PallltuJad
;o,i.lrllrxag pue l('ll1eurro;ul aql 'slroM umo 'l1aql paqderSoaroqc ranau PEq
sJaruBp ar{l Jo atuos
,slaq}o puE '5o1sse4 '8utre14 ',tueqSuluunf q}l^^ PauiroJ
aql Jo '(ueur
-rad peq or{M sra)usp paqsllatuoJJe osle aram sraqderSoaroql
or{^t
q8noqllv 'sJalIJM pue 'srasodtuol 's1sr1'ru lnq 'sraruep PauIPJl lou aJaM
,,sraqder8oaJol{J,, PaPnllul
dnor8 ar{l 'uaJuoJ }SJIJ aql Jo atuq aq} uroJJ
uamS ser* s'(e1d oM} Pue saf,ueP
,.'{roA MaN uI Ja}PaqJ laTlod aqt }P araq'$
ua^ala Jo uaf,uoJ e 'aun1 uI 'IuIJ 8uqe1s-ralloJ B uI pauilo;rad '(aql
''3'q 'uo18un{seM ,, lrrrro, e antS o} UV uraPoIAI ;o fua11e9 uo13utqse64 /arul} sH}
ar{} pa}IAuI araM tuar{} Paulo( Per{ SraquaqrsnPy uaqog
^q -
Rauschenberg consolidaied. They were invited to perform out of New
york, they were - favored by |ohnston, and were seen as the major proponents
of a ]udson aesthetic. Some participated in the Yam Festival in
May 7963 (at
South Brunswick,
the Smolin Gallery, New Yoik City, George Segal's farm in
New Jersey, Hardware Poet's Playhouse in Manhattan, and various other lo-
cations), along with members of Fluxus and makers of Happenings
and
january 1964 and appeared
Events. They traveled to New Paltz, New York, in
at the Once Festival in Ann Arbor, Michigan, the following
month' In Febru-
ary and March 1964, Sleve Paxton organized the Surplus Dance Theater se-
produced the
ries at Stage 73 in New York, and the following year in May he
First New York Theater Rally, with revivals and new dances by carolyn
Hay, Deb-
Brown, Trisha Brown, Lucinda childs, Judith Dunn, Gordon, Alex
orah Hay, Tony Holder, Morris, Paxton, Rainer, and Rauschenberg. At the
rally theie *e.e ulso Happenings, performances, and music events by
Oyvind
and
Fahistrom, Claes Olde.rbr.g, Karlheinz Stockhausen, the Once GrouP,
Robert whitman, and an exhibition curated by Lewis Lloyd."
ln 7964, Robert Dunn offered a composition course again, But by then the
at the Jud-
rules of dance had changed. The initial surge of experimentation
son, having momentarily consolidated, nevertheless resisted institutionaliza-
their
tion as dance activity proliferated. Yet the weekly workshops had lost
value for those choreographers who found performing opportunities else-
where, or whose ambitions led them on to major independent work.
Teach-
ing jobs outside New York City separated the group geographically, and
and a
UJ.ra, were further loosened by outside engagements, solo concerts,
constant influx of new choreographers at the ]udson. According to Iill John-
the end of
ston, the original momentum of the core group was dwindling by
7963: By :.l/OS, Meredith Monk, Kenneth King, and Phoebe Neville
were
emerginj as the leaders of a "second Judson generation." Concerts continued
to be-giien at the Judson Church until 1968, but they also abounded in art
galleries, lofts, other churches, and various other nonproscenium spaces.
But it was not only artists who provided fruitful areas of exchange for
cho-
reography. The new dance both simplified itself and complicated itself
with
technJogical experiments. Technology offered an objective rigor that was a
exten-
welcome antidote to the subjectivity of dramatic dance, and a logical
sion of a concern with methodology. In October Tg66,Experiments in Art and
Technology (EAT), a foundation partly organized by Rauschenberg, spon-
sored a series of performances in which artists collaborated with engineers

'14 TsnPstcuone tN SNrareRs

9I 3)NVC NUSaOI -rSOd JO ssfunos :Nolrf,noourNl

-p+uods,, Jo aJnlBu aql PuE ssaf,oJd Jlt{dBrSoaloql aql tnoqP suoqsanb Pasod
aJron padel Jaq qJIqM ul 'uotlasnoilwl uo slqSno\I awos s,tauleg uI se 'aluep
;o fuoaql p alpJtsnlll Jo alulnruJoJ ueJ af,uPP E tPtll sI aug 'aJuEP JoJ stuIEIJ
trrsruJapour-lsod sasod.rnd raqlo aJE aJaql lng 'aIPs ulvro sll JoJ luauraloru lP
{ool aM q)Ir{M uFIllM TroMaruprJ p a>lBru ol ltldtuls aq }q8IuI saf,uPP 3ur1eu
Jo asodrnd aql ]Etl+ PuP '^qdeJSoaroqr roJ q8noua uoseal aq lqBIuI aJuep
go saqrlenb IEurroJ aql ler{} (aurqcueleg pue tueq8uluun3 op se) asodold
slsruJaporu-1sod aql 'tu.ro; IEJIsnu Jo BaPI ,trera1t1 P o] ]uarualotu PaJoq)
-up qJrqM 'acuep uraporu Jo rusluolssardxa ar{} lsulPBP Sulpear ,(lleur8trg
'[epo1 aruep ul TroM 3utlsa
-Jalul lsotu aql urroJul ol sanupuoJ lPr{} Jl}aqlsaE uP sI u 'af,uPP ul salr{;s puu
'salnllmls 'suo11enrlotu 's1eyaleu 'asodrnd;o a8ue; aql Pa8uallet{J uauo PUE
papuedxa lpql aruep uI Jllaqlsau uJaPoru-lsod e.ro; IroMPunor8 e prel slooqs
-#o sll pup ralpar{I aJuBC uospn[ aW Jo sarn]ualPe PuP s]uaurpadxa aq1
'sol6lt alpl aql ur ,(lsnonildsuoc PaPaf,aJ 'ursluepelpoqlnPllue Jo lxal
-uof, IEJauaB e ut aleudordde'sraqderSoaJoqJ uJaPou-1sod r(ueur d'q sraruep
paulprluou Jo asn aq1 ('rteg PuE uolxed aag) 'sacuep dnor8 leur-ro;ur z(13ut
-spaJf,ul s,r(e11 r{pJoqaC Pue afl$ Pue nooT urfrlxlag s,uo}xBd aT1 sarald dnorS
paJnlJruls ,(ldurrs 'aBre1 uI sruJoJ Ieunrutuof, Surrtpoqrua ,(q passa'rdxa aJaM
uorlezruuS.ro perlrlod Jo sauaql le.raua8 aJoI I 'uoqdnuoc prrlrlod pue 'tervt
aql 'dlr{srosuaf, Jo sanssl l;rcads pa}parl (t1y pue 'nrppuaprTyl Wlm uollarlqal
10) '|enpa1 ylqnaag 'atnpal srrouaaa4ul Surpnpur) porrad lpql SulJnP saJuEP
s,uolxed alals 'UyM pallpJ aratd e aPPu rear( atuBs aql PUP lOlOt ul MoqS
3e11 uospnf aql .ro; aruep e pa8uerre !696I ul s8urlpl a]P]S lua) aq] PUE
erpoql.rrp] Jo uorsp^ul aql lsulEBP alBrlsuoruaP ol IPM-W raq uo PasPq oqos
q8norql r{rruru e paqderSoaroqr Z96I ul >laaM syy Ar8uy Suunp ruEu}aIA
ul JpM aql Supsalo.rd sryom ;o tuerSord e uo nuu1 $axePauo) lI PallEJ Pue
uorlrpuof, luaf,salpluoJ E uI V oltl paf,ueP 'af,ue1sut ro; ';auteg '1ru1durt ro
lnrldxa Jar{lla 'saruar{} 1ucr1r1od rlllM saf,upp apeur sraqder8oarogr leranas 'fu1
-unof, aql papp^rad lsa;un 1eu1r1od ual{r* 'sOl6T,(pea pue sO96T alPI aql uI
6z'pazllpaJun lualxa auros ol sacald aql Jo IeJaAas
Surneay pue suralqo;d prruqral ,(ueur Sulralunorua 'snotlseslP aJaM
(p1aq sem eT6:1 lo rvtot{S fuou.ry lro1 rvtaN snorueJ aq1 a.raqat) ^lued
fuoury luaur
-I8aU q]69 at{} }e plag'sluala aql'ueu4lt{M Uaqog puu'.ropn1PI^PCI'utorls
-1qe3 pur,rd.g 'a8e3 uqof dq sB IIaM se 'Sraquaqf,snPu pue '.raure11 'uo1xe4
/Paller sPM salras aql sP
'de11 qeroqaq ',(e11 xaly 'sppq3 d.q sryorrt PaPnlrul
'surraaur8ul pue ra+earll :s8uluan3 aulN 'salroleroqe'I auoqdalal IIag urorJ
neousdetermination"ofmovementdesign'whileshe.infactimprovised;or
stillness can constitute a
in Douglas Dunn,s 101 which propJs"d that
as philosophers
dance. Another purpose'
partly inspirei by phenomenological
spTe, time, or orientation
different perspeciives :n-
and writers, is to embody
did, for with her Eqlipment Pieces' The
to gravity, as Trisha Brown "*uipt",
breakdownofthedistinctionbetween",.""llife'(notin.thesensethatlife
is both subiect and material for
art)'
becomes *or" u.tirii.-u.rf,nua real life
theclarificationofindividual,discretemovements,theisolationoftheessen-
become valid purposes for making
a
tial characteristics ;;;;;'have all
dance.Sohastheoptionofmakingadanceforthepleasureofthedancer, The very
or not the spectator finds it pleasing, or even accessible'
whether
questionofwhatitmeanstocreateudu,'c".ungeneratechoreography:is Is dance-
a score (" li;;; Forti has done) an act of choreography?
writing
makinganactofto"'t*ttionandtt*totaprocessofdecisionmaking?In
becomes a critic' educating spectators
post-mode* au"t",if'" tho'"ogtupher
audience brings to
challenging the expectations the
in ways to look ut ian.", comment-
performu"t", fiut"i"g p"ts of tt'" dance for closer inspection'
the

'"Tl,tff.i"m;;:,1:,tff:i?rategies have been emproved in order to

time, rather than
achieve these aims] one crucial step was the use of actual
artificialmeter'Thatis,actionswerenolongerfittedtothetemporalstruc- they
tures dictated by musical
,..o*pr^i*ent, iut simply took the time the
the use of repetition to emphasize
would take off-stage' Another-was. paradigmatic in
of time. u-r.i.,Re.t"d phrasing, which Rainer made
passing
TrioA,hadtheeffectofflatteningthetimestructuresothatdynamicsno can the
i" ,t " design or tr," dance over time. Not only
longer participateJ
bodyberelaxedi"po't-*od""'-a"""1ittto"ttu'tto'bothballetandmodern
is also relaxed'
iritf'" of suspense'
dance), but time, '""'"
Whethertheprevailingstructureisamathematicalsystemforusingspace/
time,orthebody;orarbitraryassemblage;orfragmentation,|uxtaposition, shift-
by ilprovisation; or the constant
the deliberut" uuoidurrce of structure in
of structures"b;h;;." th"r"lt always the possibility' post-
ing 1e.t\ods,
form will be bared. The anti-illusionist
modern dance, tiut tr," underlying pleasure in
stance dictates tr,ui r"r*,
.ur, ,ho*, urra,nu, part of the aesthetic
the
watching the d;c; i..ir",
from learning its structure by examining
Seams:watchingmistakesoccurinimprovi-sation,witnessingfatigue,danger,
awkwardness,difficulty;watching.o,"*"ntbeingmarkedandlearned.

L6 TrnPstcuoRe tN SNeare'ns
IL 3)NYC NUICOIAI-JSOd rO slf,UnOS :NOrr)nCOurNI

pury uEl auo ll ur pue 'auo )1{}llouour B }ou sr Jrlaqlsae uJapou-}sod

'punor8 aq] uo d.1urrry ]aa; aql Surdaal allqM qppa ar{l"r{I uroq
aJuplsrp uerunq '1oor e Surutelureur 'yo;tuor oslp lnq saoqs alurod Jo ssau
-lqBII pue paads aql 3u1p1no.rd 'Sulqlou Surzrloqufs 'sraleaus sJpaM ursrura
-potu-lsod ro asnru aql 'qppa aql qllM l)eluor slr arnras d,11err1oqud.s ol tooJ
aLIl parEq ,(luazerq af,uep uJaporu JI pue '/(,ilururtuay 1n;arer8 'gos ro; poo]s
lpql Sulra^of, p pulr{aq q}8uar}s ,(1>1rom slr puE z(poq aql Jo aJBJrns ar{t Sullpal
-uor 'sraddrls urles ur looJ aql pplr ]alleq JI 'af,uep Jo Iool Jrspq aql /looJ ar{}
;o Surranor aql ul pagtd.Q st acuauadxa alaJf,uof, ur palooJ Llrnrlre Ipnsef, Jo
asuas Mau sn{I 'ayr1 (1ep uI sl lI ueq} asua} ro dn pa11nd aroru ou sr d.poq aq1
'raleaql aql aprslno a1e1 lq8rur ll aurll ,o qlSual aql salpl pue sa8pa
q8nor pup uopueqp Jo lunorue ar{} ^lpexa
seq uor}rp aqI 'lll1s Iprruqra}
^l}rpxa
ro 'leadde Ipnsrl 'atel8 o1 p"re8ar lnoqll,lt palnJaxa sr IIE,vt Jo 'unJ '11e; 'durnf
y '3uruq palelndrueur Jo 'aJua.ra;ar ,(re.rall1 '(elrano leuorlorua Jo paureJp
'ssauantlraga Ip)rJlpaql Jo, pagolsrpun uorlJe sueaur ll 'luaJagrp alrnb 3ulql
-aluos suearu ,,lEJnlEu,, 's97, puu sO96I aql Jo s.raqde.rSoaJoqf, uJapotu-1sod
aql roJ 'uorsual dpoq ;o supaur ,(q sallrlear IEIJos ro lerrSoloqrr(sd Jo ssau
-anrssardxa ar{} 8ul}ouuor sarnlsa8 luearu ,(aql qrlqm d.q 'SurqleaJq uo paseq
sluaura^oru ,,[pJnleu,, roJ pa{ool ,i,a.rqdurng puB tueLIBJD 'soe, pue soz6l
aLIl ul 'saaJl pue sanpM Jo sluarualou aql 'uecun6 ro; lsarg;a1lnq pup sJaMolJ
'ra11n1 JoJ arnlpu ul sruJo, paluasardal Jo palelrurr lpr{l saJn}sa8 o1 paJJaJar
-
(aqt 'luaruatour ,,leJnleu,, ;o alods 'uelun6 EJopBsl pue JallnJ ar.o1 'aruep
uJaporu Jo sJauunJaJoJ aql uaqM 'sluaruatoru IEJnlpu Lllerradsa 'sluaulanoru
aJuep JoJ sarlrlrqrssod nnau ;apua8ua IIe salnlJnJls aurq paxEIaJ pue 'satue8
's1se1 'sluaprrur snoaueluods 'uorleslnordur '(uaq1 Suqelndrueur asrMJaqlo
ro Surd.rrBr) spa[qo Jo asn aql ']xaluof, arupp B ur pallp]sul sl ]l leql sl '1uaur
-alotu d.reurpro ue dldurrs upr{l Jaq}EJ 'aluep e;o ped E }uarualoru p salpru
leqM 'lerJalptu aruoJaq uef, 'sauols 3ul11a1 o1 8ullea o1 3ur11ervr ol JrEr{ s,auo
Surquroo uror; '1p1s Surpuels ol sllnpsraruos Sulop uro.r; '3u1ql[ue snql 'suoq
-re ,fueutpro r{llM salpr)ossp auo lelll sarnlsod ,(epdrana 'lensul Jo pupl aq} ul
pa8e8ua d.poq aql Surr*oqs 'dlalanuoc d.poq aql luasard sluaruanour IErnlpN
'sluarualour IpJnleu Jo asn aql sl uorlerr;rldurs q)ns ol palelar pue 'passeddq
sr anbruqral leql ,(llelrlsprp os d.qderSoa.roqr aql,lrldturs ol sr raqlouv 'appu
Suraq;o ssaco.rd uMo rraqt a8payvroulre leql saf,uEp Surleur ,(q l1 ,flls,tuiap
o1 sr anbruqJal f,rsonurn Jo sJalleru uoJJ ,{,eane uoquape ,vteJp o1 ,(er* aug
'lll>ls araui
,{.q pacnpas aq ol Sursn;ag 'pal}upruslp pue }lrnq Suraq stuals,(s 3urqr1e,11
 those groups and chore-
many contrasting concerns and methods. There are
such as Grand Union, Simone Forti' and Douglas
Dunn' who often
og.upt
piu.it."".r,
a kind of choreographic relativity, letting their
performers range over
Lucinda Childs'
i^" "r,a space at different rates. Then there are others like usually operate as
Kenneth King, Laura Dean, and Andy deGroat, who
space' There is one
geometers, tracing distinct designs in a well-controlled
move-
flu* of choreographers that draws the spectator's attention to complexin order
movement
ment desigrrr, u.rJ another that simplifies or complicates
the de-
i. l*pn"r"ize the bodily operations of the particular dancers making
and Deborah Hay's Circle
signs. And in Steve Paxionls Contact Improvisation
Dances, the primary focus in the dance is the
dancer's physical sensation and
awareness, a focus that threatens to remove the
work from the realm of art
altogether, by making the spectator obsolete'
been identi-
In the ,7Os, once tf,e issuls of technique and expression had
fied,tested,andresolvedinavarietyofways'andoncedancehadbeenre-
arose in the work of
duced to its essential features, a new expressionism
was reinstalled in
Meredith Monk, Kenneth King, and others. Narrative
dance, but one that was distanced by techniques
of alienation and reflexive-
and David
,r"rr, ,, in Rainer's later work, some Grand Union performances'
again surfaced in the
Gordon,s recent work. And even virtuosity once
as in Douglas
dances a virtuosity of inventiveness, skill, and endurance,
-
Dunn,s graceful, symmetrical constructions, Lucinda
childs'obsessively pre-
cise dances, and David Gordon's elegantly witty
works' Batya zamir's adven-
Pieces are examples
tures on aerial sculptures and Trisha Brown's Equipment
of dances that require a new set of physical skills'
write about here' Many
I have chosen ten choreographers and one group to
of the post-modern
other dancemakers *"r" u.Iir"ly involved in the creation
not only du"tlt' like Iudith Dunn' Elaine Summers' and
dance aesthetic,
RudyPerez,butalso,aslhavenoted,composerssuchasJohnHerbert
Alex Hay, Robert
McDowell and Philip Corner and visual artists including
However, those I
Morris, Robert Rauschenberg, and Carolee Schneemann.
have considered here have worked consistently
in dance, many of them at
and also their work is rep-
least since the beginning of )udson Dance Theater,
resentative of various themes and issues that
have concerned all the
post-modernists'
part of the post-modern
several choreographers who could be considered
a number of reasons' Some, such
movement have not teen included here for

TERpstcHone tN SNeexeRs
61 3)NVC Nulaol^tr-rsod io slfunos :NOIrfnoouINI

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aJar{} iet{} uoqou lnrldxa aqi }l
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[1uoq1ne Jo uoqlsod
qllm salrref, uolllperl r{}lM Iearq rlat{J 'ped lsour aq} roJ
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"qi
Surpuarsuerl pue apr(r leql Surlearq uI PaPaaf,Jns seq
dnor8 slql s^EM '(ueur
uJaPoru Jo IaPour lerrp'b aql
ol
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