CriticalDance Forum

Mark Morris 2004-05
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Author:  Francis Timlin [ Fri Apr 22, 2005 2:22 pm ]
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In the Seattle Post-Intelligencer, R. M. Campbell previews the MMDG's April 28-30 appearance at the University of Washington's Meany Hall: ... ris22.html

Author:  Francis Timlin [ Mon Apr 25, 2005 12:27 pm ]
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Melinda Bargreen interviews Mark Morris about the April 28-30 program at Meany Hall in The Seattle Times:

http://archives.seattletimes.nwsource.c ... ark+Morris

Author:  kurinuku [ Mon May 02, 2005 1:27 am ]
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Sing Out
Music and dance waltz heart-to-heart in velvet harmony; daily life maneuvers into art
by DEBORAH JOWITT for the Village Voice

In Morris's new Rock of Ages, set to the ecstatic adagio from Schubert's Piano Trio in E-flat, the four dancers (and the male-female ratio) are different at each performance and the pairings are fluid...

published: April 26th, 2005

Author:  Francis Timlin [ Mon May 02, 2005 10:28 am ]
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Seattle press reviews of the Mark Morris Dance Group's performances at Meany Hall, April 28-30, 2005.

Alice Kaderlan in the Seattle Post-Intelligencer: ... is30q.html

Mary Murfin Bayley in the Seattle Times: ... ris30.html

Author:  ncgnet [ Sun Jun 05, 2005 8:29 am ]
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From Christine Temin in the Boston Globe:
Mark Morris finds synergy in the Berkshires
Choreographer connects music and movement

“I never even thought of collaborating with another choreographer,” says Ellen Highstein, director of the Tanglewood Music Center in the Berkshires.

She’s talking about Mark Morris, who is creating a new dance this month at the center. Called “Cargo,” it’s set to Darius Milhaud’s “La Creation du Monde.” The Mark Morris Dance Group and the musicians of the TMC will premiere the piece at Tanglewood June 26 and 27. It’s Morris’s first TMC commission.


Author:  ncgnet [ Tue Jun 28, 2005 6:54 am ]
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From Richard Dyer in the Boston Globe:
From new to nostalgic, Mark Morris’s dances connect
Mark Morris celebrated the third summer of his residency at the Tanglewood Music Center by creating a beautiful, elusive dance called “Cargo,” which the Mark Morris Dance Group premiered in Seiji Ozawa Hall Sunday night.

Set to Darius Milhaud’s jazzy “La Creation du Monde,” “Cargo” was inspired by the skewed sort of creation associated with the cargo cults of Melanesia.


Author:  Morris Neighbor [ Tue Jul 05, 2005 9:18 pm ]
Post subject:  Morris premier

A recent weekend escape to the Berkshires gave me a chance to see the premier of Mark Morris’s latest, Cargo, at Tanglewood. It was definitely worth the trip.

The cargo in question is a long wooden pole, lying casually on an empty stage when the curtain rises. The dancers enter in silence, animal-style, bent and loping or on all fours. One of the men seizes the pole. The music begins – Milhaud’s darkly jazzy La Création du Monde – and the company becomes, in essence, a cargo cult. (Cargo cults developed among isolated communities in the South Pacific when unfamiliar items from wrecked ships washed ashore. Mahogany breakfronts, silver trays, chamber pots and more became objects of veneration.)

Morris’ dancers explore the many possibilities of the pole. It’s a game, a weapon, an icon, a way to bring people together, a way to keep them apart. Two more poles appear and the possibilities multiply. Driven by the insistent rhythms of Milhaud’s score, the mood changes from disturbingly ambiguous to fiercely competitive to sunny and festive. The finely honed ensemble captured all the wit and energy of the piece, and the audience gave it an enthusiastic welcome. Clearly, Morris has another winner on his hands.

The piece is yet more proof of Morris’ gift for blending practicality with art. It was commissioned by the Tanglewood Music Center, a summer-long program of master classes and intensive workshops for young musicians, mostly recent conservatory graduates. TMC places strong emphasis on chamber music, small ensembles, and contemporary music. La Création du Monde, written in 1923, is scored for 18 musicians. (The limited musical forces are also important to the Morris company, whose policy is live music at every performance, but whose budget does not cover a full orchestra.) Furthermore, the Boston Symphony, which runs Tanglewood, has strong ties to the Florence Gould Foundation, dedicated to supporting musical performance and advancing Franco-American amity. They especially love to see American artists perform French music…. In short Morris has a genius for survival in these trying times.

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