Merce Cunningham Dance Company

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Press release

In celebration of the Merce Cunningham Dance Company’s (www.merce.org) 50th anniversary, these unmissable performances, presented in association with BITE:02, feature a Barbican co-commissioned new work, Fluid Canvas alongside three works never before seen in the UK.
Merce Cunningham continues to reinvent the language and boundaries of movement. For the World Premiere he has collaborated with digital artists Paul Kaiser, Shelly Eshkar and Marc Downie and promises to “challenge the dancers’ sense of timing and rhythm in ways like never before with speed and complex phrasing”.

The two programmes also include the European premiere of Loose Time (2002) and the UK premieres of Interscape (2000), Way Station (2001) and How to Pass, Kick, Fall and Run (1965).

PROGRAMME 1
Tue 10 – Thu 12 Sep
Fluid Canvas

PROGRAMME 2
Fri 13 – Sat 14 Sep
Way Station
How to Pass,
Kick Fall and Run
Loose Time

Wed 11 Sep
Post-show conversation with Merce Cunningham (free to ticket holders of that evening’s performance)

Sat 14 Sep 1.15pm - 3.45pm
Cunningham in Focus
See Merce Cunningham in rehearsal, followed by a short screening and talk from company archivist David Vaughan - call box office for further details

Merce Cunningham, Paul Kaiser and Shelly Eshkar join the panel for this year’s live chat room.

Paul Kaiser, Shelly Eshkar and Marc Downie’s 21st century portrait of Merce Cunningham, LOOPS, can be seen at the ICA Tue 10 – Sat 14 Sep.
“the world’s greatest living choreographer” Wall Street Journal
“eye-riveting experiment in movement and context” New York Times

Merce Cunningham Dance Company
by debra craine in The Times


WHAT CAN you say about Merce Cunningham? At the age of 83, he is still one of the most exciting choreographers working today. Serene, cerebral and wickedly inventive, this octogenarian dance-maker is the godfather of abstract modern dance. A visit by his company is always an event, and this year it is even more special because we are getting a Cunningham world premiere as part of the celebrations of the company’s fiftieth anniversary.

A co-commission with the Barbican, Fluid Canvas has music by John King and designs by the same team who worked on Biped, the unbelievably gorgeous work that Cunningham brought to the same venue two years ago. As with Biped (which took computer dance to fabulous new heights), Cunningham has incorporated the latest computer technology to create Fluid Canvas.

click for more

As it is such a significant event in the London dance year, here are the full details:

Press Release:

Merce Cunningham Dance Company
and dance umbrella 2002

"Dance Umbrella starts this year with the Merce Cunningham Dance Company at the Barbican Theatre. Part of this year's BITE season, the two programmes include no less than three UK premieres, plus a world premiere specially commissioned by the Barbican. Immediately following the performances, the company moves to the London Contemporary Dance School at The Place for a week-long residency, our first with a major international company in London. A packed schedule includes not only classes and workshops for students and professionals, but, for members of the public, a study day, presentations, discussions and films each night in the Robin Howard Dance Theatre and the Founders' Studio."
Val Bourne, Artistic Director, Dance Umbrella

The Barbican Theatre Season Tue 10 to Sat 14 Sep

Celebrating its 50th birthday, the Merce Cunningham Dance Company returns to Dance Umbrella with five pieces of work in two programmes including the world premiere a Barbican co-commision, Fluid Canvas. Over the last 50 years of dance making Merce Cunningham has become regarded as the most accomplished and revered contemporary dance choreographer of our time:

"the world's greatest living choreographer" (Wall Street Journal).

Spread over two separate programmes, the Merce Cunningham Dance Company season at the Barbican includes the world premiere of Fluid Canvas (2002) and the European Premiere of Loose Time (2002). The full programme of work also features the UK premieres of Interscape (2000), Way Station (2001) along with a revival of How to Pass, Kick, Fall and Run (1965), first seen in London in 1972.

These performances are part of BITE:02 in association with Dance Umbrella 2002.

Merce Cunningham Dance Company Residency Mon 16 to Fri 20 Sep

Following the performances at the Barbican, Dance Umbrella is proud to present the company's first ever London residency. As well as delivering an intense and invaluable experience for dance students and UK practitioners there are a number of unique public events presented at the Robin Howard Dance Theatre and the Founders' Studio at The Place.

In addition to these events at there's a chance to see LOOPS at the ICA Theatre (Tue 10 - Sat 14 Sep). This interactive installation uses motion captured data from Cunningham's 1972 solo of the same name, Cunningham reading his own diary entries from his first three-day visit to New York City when he was seventeen, and electronic music composed and performed by Takehisa Kosugi. LOOPS has been created by Paul Kaiser, Shelley Eshkar, and Marc Downie, digital artists and collaborators on Fluid Canvas, and has been described as a '21st century portrait of Merce Cunningham'.

§ Merce Cunningham Study Day
Mon 16 Sep 2pm - 6.30pm / 8pm - 9.30pm Robin Howard Dance Theatre

Hosted by Alastair Macaulay (Chief Theatre Critic, Financial Times) with David Vaughan (Company Archivist) joined by past and present company members and collaborators. Merce Cunningham himself will make a special appearance. The event concludes with screenings of rare film and video footage of the company in rehearsal and performance 1944 to 1995.

§ Merce Cunningham: Three Films with Bob Lockyer
Tue 17 Sep 8pm Robin Howard Dance Theatre

The BBC's former executive producer of Dance Programmes, presents three of Cunningham's most important film works. Story (1964), offers a rare chance to see dancers from the early days including Viola Farber, Carolyn Brown and Merce himself. Beach Birds for Camera (1991) is Elliot Caplan's screen version of the popular stage work. Torse (1977) is a Charles Atlas film made with two cameras. The film from each camera is projected simultaneously to give a wonderful new perspective on dance performance.

§ Merce Cunningham: A Lifetime of Dance
Wed 18 Sep 6pm Founders' Studio

Charles Atlas's award winning documentary includes footage from 50 eventful years.

§ Reconstructing Totem Ancestor
Wed 18 Sep 8pm Robin Howard Dance Theatre

Company member Daniel Roberts presents this 1942 solo and, with Company Archivist David Vaughan, describes its reconstruction from a Labanotation score.

§ Film: Cage / Cunningham
Thu 19 Sep 6pm Founders' Studio

Elliot Caplan's documentary shows a portrait of one of the most creative partnerships of the 20th century.

§ Takehisa Kosugi in Conversation
Thu 19 Sep 8pm Robin Howard Dance Theatre

Composer and company Musical Director Takeshi Kosugi in conversation with Annette Morreau and Richard Steinitz, respectively Founding Directors of the Contemporary Music Network and the Huddersfield Contemporary Music Festival.

§ Films: Triple Bill
Fri 20 Sep 6pm Founders' Studio

Charles Atlas' behind the scenes Roamin' I (1980), Channels/Inserts (1982) made at the Cunningham studios and likened to a party going on in different rooms and, Walkaround Time (1973) Cunningham and Cages homage to Marcel Duchamp complete with inflatable set from Jasper Johns.

§ Merce Cunningham: In Conversation
Fri 20 Sep 8pm Robin Howard Dance Theatre

Merce Cunningham in conversation with Alastair Macaulay and Richard Alston.

Tickets & Info - 020 7387 0031

<small>[ 09-09-2002, 08:07: Message edited by: Stuart Sweeney ]</small>

Here are a couple of preview items that I have copied from our UK performance forum:

Interview in The Guardian with Judith Mackrell:

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Article in The Evening Standard:

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RESIDENT MASTER
by Donald Hutera

Merce Cunningham, commonly acknowledged as the America’s greatest living choreographer, is kicking off Umbrella 2002 with Fluid Canvas, a Barbican co-commission and world premiere, and repertory work (Tue 10 to Sat 14 Sep) at the Barbican Theatre. But that’s not all the venerable gentleman will be offering to dance-goers this year. Umbrella has seized the opportunity to create a week-long residency with him and his company. This is the troupe’s first major residency in the UK, and a part of a programme of events marking its 50th anniversary. Umbrella is joining forces with London Contemporary Dance School, which is co-producing the week and providing the newly-renovated school as a venue.

Residency co-ordinator and free-lance conference producer Elizabeth Anderson is excited about the entire agenda. “The range and variety of the week’s activities will provide unprecedented access to the company through classes and rehearsals, a study day, film screenings, a teachers’ discussion group and interviews with key collaborators. We’re privileged that Merce himself will be present at a number of events, and that company archivist David Vaughan, who has been with the company since the early 1950s, will also take part.”

Not all of the residency is open to the public, but those events which are should not be missed. Take the Study Day (Mon 16 Sep, 2pm-9.30pm). It features, in addition to an interview with Cunningham, panel discussions with past and present company members. Included among the former are Carolyn Brown, who danced with Cunningham between 1953 and 1972, and England’s Emma Diamond, who was a company member from 1988 to 1994.

The day has been organised by dance/theatre critic Alastair Macaulay, and will conclude with screenings of rare video footage of the company in rehearsal and performance between 1944 and 1995. On Tuesday 17 September Bob Lockyer, former executive producer of dance programmes at the BBC, presents three films of Cunningham’s work stretching from 1964 to 1991. The following evening at 6pm Charles Atlas’s award-winning documentary, Merce Cunningham - A Lifetime of Dance, will be shown. Later at 8pm, current Cunningham dancer Daniel Roberts will perform his reconstruction of Totem Ancestor, Cunningham’s first important solo dating from 1942.

At 6pm on Thursday 19 September you can see Elliot Caplan’s award-winning documentary about Cunningham and his on and offstage partner, the late composer John Cage. Two hours later omposer and company musical director Takehisa Kosugi will be in conversation with Richard Steinitz and Annette Moreau about his own, Cage’s and the late David Tudor’s contributions to Cunningham’s oeuvre. The next day the focus at 6pm is on three Charles Atlas films including his and Cunningham’s stunning 1982 collaboration Channels/Inserts, a dance made for the camera using chance methods. The residency culminates Friday 20 September at 8pm, when Cunningham will be in conversation with both Macaulay and British choreographer Richard Alston.

WHO: MERCE CUNNINGHAM DANCE COMPANY
WHAT: RESIDENCY
WHEN: MON 16 - FRI 20 SEP
WHERE: THE PLACE
TICKETS: 020 7387 0031

MORE MERCE
by Donald Hutera

Merce Cunningham, commonly regarded as the world’s greatest living choreographer, isn’t just coming to London to show a world premiere at the Barbican this autumn. His company, celebrating its 50th anniversary this year, will also conduct its first-ever residency in the capital.

The World Premiere, a Barbican co-commission and as yet untitled, is a new venture with Paul Kaiser, Shelley Eshkar (designers of BIPED) and Marc Downie who will use the motion capture technique to generate animation and imagery to add Cunningham’s own presence to the stage. Music is by John King and costumes by James Hall while the space will be lit by James Ingalls. BITE hosts two programmes of work, the first (10 - 12 Sep) presents the new work alongside Interscape (2000), while the second (13 - 14 Sep) includes Way Station (2001), Loose Time (2002) and a revival of How to Pass, Kick, Fall and Run (1965).

Dance Umbrella has secured the company for the following week to present a week of public events and residency activity. At time of printing it looks likely that the week will include a study day, film showings, an evening with collaborator Takehisa Kosugi, a presentation of the early Cunningham solo Totem Ancestor (revived and recreated by company member Daniel Roberts) ending with Merce Cunningham in Conversation. The company will also be taking class with students of The London School of Contemporary Dance as well as groups of professional dancers. These events are due to take place at The Place - full details will be announced soon.

WHO: MERCE CUNNINGHAM DANCE COMPANY
WHAT: WORLD PREMIERE, INTERSCAPE, WAY STATION,
LOOSE TIME, HOW TO PASS, KICK, FALL AND RUN
WHEN: TUE 10 - SAT 14 SEP
WHERE: BARBICAN THEATRE
ON SALE: NOW! £5 - £29.50
TICKETS: 020 7638 8891

WHO: MERCE CUNNINGHAM DANCE COMPANY RESIDENCY
WHAT: STUDY DAY, FILM SHOWINGS, CUNNINGHAM IN CONVERSATION
WHEN: MON 16 - FRI 20 SEP
WHERE: THE PLACE
TICKETS: CALL 020 8741 5881 FOR FULL DETAILS OF ALL CUNNINGHAM RESIDENCY
EVENT

<small>[ 09-09-2002, 08:07: Message edited by: Stuart Sweeney ]</small>

Merce Cunningham: Digital wizard
As his company celebrates its golden jubilee, Merce Cunningham is looking to the future. He's using a computer program to construct movements for his dancers, he tells John Percival in The Independent.

I wish we could see Merce Cunningham's Winterbranch again. That might seem perverse to anyone who remembers that some people experienced it with gritted teeth during the Cunningham Dance Company's first London season at Sadler's Wells in 1964. And anyway, we have seen its choreography not so long ago, in one of the events that Cunningham stages every now and again, putting various of his old dances together into a non-stop evening. But out of its original context, the movement from Winterbranch, primarily falling and rising again, could look comical. Nobody laughed, the way it was first presented.

click for more

<small>[ 09-09-2002, 04:44: Message edited by: Stuart Sweeney ]</small>

On Criticaldance we have a wealth of reviews and discussions about the Merce Cunningham Dance Company. I give below the link to our most recent topic about this key figure in the dance world and within the topic you'll find a handy link to earlier discussions:

http://forum.criticaldance.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=5;t=001299

<small>[ 09-09-2002, 05:09: Message edited by: Stuart Sweeney ]</small>

Here's a very recent review from one of our German readers:

Merce Cunningham Dance Company
Pictures (1984) and Interscape (2000) at the Staatsoper Unter den Linden, Berlin, Tanz in August Festival 2002.

Review by Diane Busuttil

Merce Cunningham emerged from another of histories great dance institutions, Martha Graham, where he performed as a soloist before begining his own choreographies in 1944. Almost 200 works have been choreographed by him since then, and now in 2002 we celebrate the 50th Anniversary for the Merce Cunningham Dance Company. It true that he is no less than a living legend, having influenced the very basic structures of the way we learn and think about dance. He has collaborated with many significant artists such as: John Cage, Robert Rauschenberg, Jasper Johns and Andy Warhol. He has won a series of awards from Venine, New York, Ohio, London and in France was made a Chevalier of the Legion d’Honneur. Books have been written about him, exhibitions of his work shown at museams and thousands of young dancer across the world are inspired by his physical technique and approach to dance and movement.

As a dancer who has never seen the company perform live, I knew that to witness his work is to be taking part in a slice of dance history. The theatre alone is so elaborate and grandiose as to mark such a significant occasion with opulent trimmings. As the murmer of the awaiting audience subsides, the theatre goes pitch black before opening on a quiet scene of calm unfolding movement set to the serene sounds of D. Behrmann. The dancers were de-sexualized, almost de-humanised by the rigidity of the technique that leaves no room for personal expression. The dancers gliding through a state of mechanical flow, like smooth machinery each small cog operating in consiquence to the entire framework. The audience were gently reminded of their humanity only when a dancer wobbled off balance or was slightly out of unison with the group.

The lights changed periodically to sillouette the dancers small vignettes of supported postures, which appear to be incredably physically arkward, yet the entry and exit point was always executed with airated flow. This physical tension seemed to carry throught to Interscape, where you could see the development in the movement language over almost 20 years. Only dancers that have trained for many years in this rigid technique have the skill to find a sense of flow and breathy motivation within the confines of the choreography. And only when I witnessed flaws of imperfection was I able to grasp the sheer physical strength this technique requires.

The most endearing moment is when Merce arrives on stage for the bow line, shuffling graciously towards the audience with his walking stick. This is the picture that shall remain in my memory.

<small>[ 09-09-2002, 05:23: Message edited by: Stuart Sweeney ]</small>

I am interested to know more about the film screenings and what our UK readers impressions are! Cunningham screenings are rare (even in NY, Cunningham's home base) and thus, a golden opportunity!

I can appreciate the comment above on Merce's endearing qualities! . A few years ago, when he was still dancing but beginning to slow down physically, a friend of mine visited Merce backstage and said, "Merce, your solo was amazing! what were you thinking while you were dancing?" and Merce replied "I was thinking, I hope I don't fall over"

The high priest of pure movement
At 83, Merce Cunningham is still at the cutting edge of choreography. He talks to Ismene Brown for The Daily Telegraph.


Dance is the strangest of performing arts - you never know where you are with it. In drama, words are words; music, though more mutable, still has a clear identity. But although dance is human movement, what is it that turns human movement into dance?

Many people would cite musical empathy, dramatic meaning, ritual symbolism or emotional expression. Very few would consider that a human being could dance mesmerisingly without such props, without dance having a dramatic or musical subtext.

It may be that never in the history of civilisation had anyone conceived of opposing this received wisdom until 50 years ago a pair of young maverick Americans, Merce Cunningham and John Cage, proposed that from now on choreography would be just as self-sufficient as an artwork or a piece of music.

click for more

Programme 1: Fluid Canvas (World premiere); Interscape (2000)

Just a few words as we have two formal reviews on the way. This was an exciting evening of dance with superb performers. These two recent contrasted works show that Cunningham is going from strength to strength. It's all about geometry - individual and ensemble.

For modern dance fans this is a must. However the formalism, balances and ports de bras may well appeal to ballet devotees. "Interscape" has more attitudes per minute than any dance work I know.

I'll post information about ticket availability tomorrow.

<small>[ 09-10-2002, 18:13: Message edited by: Stuart Sweeney ]</small>

<img src="http://www.kaiserworks.com/artworks/biped/STILLS/bipedstage500.jpg" alt="" />
<small>"Biped"; choreography Merce Cunningham; digital artwork Mark Downie, Sheeley Eshkar, Paul Kaiser</small>

The new Cunningham work, "Fluid Canvas" uses digital art work by the same team that worked on "Biped". In the programme notes there is a discussion about how the techniques were developed. Here is a link to a transcript of a conversation between the artists involved.

The digital effects are very different in the two works, but both are successful in my view.

Review in the Times.

MORE

And in The Evening Standard.

MORE

<small>[ 09-12-2002, 04:32: Message edited by: Stuart Sweeney ]</small>

Seat availability as at 11 Sept.:

If you want to see the MCDC performances the message is book fast. Here is the latest ticket information from The Barbican:

Wed. Prog. I: sold out

Thurs. Prog. I: £28 and £21 only

Fri. Prog. II: Only 80 tickets

Sat. Prog. II: Ok but only a few left at the lower prices

Given the superb reviews that are in today's papers and no doubt tomorrow's as well, I'm sure that these will all go quickly.

Booking details at the top of this topic.

<small>[ 09-12-2002, 04:33: Message edited by: Stuart Sweeney ]</small>