"It's obvious he's trying to tell us something. But what?"
--from the French cartoonist Voutch
|CEDRIC ANDRIEUX IN HIS DRESSING ROOM|
|Cedric Andrieux and Andrea Weber|
IN EITHER ELEMENT, Andrieux could take dominion. He could be Poseidon, he could be Orlando in the Forest of Arden. Just in doing the steps and making them as big as they could be, he could summon up a world. This is the Cunningham magic, and Andrieux was an adept.
"I've been in New York for 10 years," he said at the time, "dancing Merce's work for nine years. I didn't think there's anyone else in this city who could bring me to as may levels as Merce did. But I want to dance different characters--which is why I chose Lyon. Because what I need in my career is diversity.""I'm glad to be going back."
|Derry Swan and Cédric Andrieux|
|Wendy Whelan and Peter Boal in "Distant Cries." Photo: Paul Kolnik.|
|Damian Woetzel and company in the finale of "An American in Paris." Photo: Paul Kolnik.|
|Elizabeth Streb after cutting herself while cooking. photo: Born to Fly|
|Streb walking down London's City Hall: Born to Fly.|
|STREB EXTREME ACTION COMPANY in London: Born to Fly.|
|Merce Cunningham with composer Gordon Mumma in St. Paul de Vence, 1966|
|Merce Cunningham and John Cage|
I have many reference, many images, so in that sense I have no images. because I could just as well substitute one image for another, in the Joycean sense of there being not a symbol but multiple [symbols]--one thing can build on another, or you can suddenly have something--the same thing--being something else....That seems to be the way life is anyway.
|Barbara Dilley, Carolyn Brown, Merce Cunningham, and Viola Farber in Septet, 1964|
The idea of personality not being there isn't true simply because when the dancers do it, they in doing it take it on--it's like a second skin.
|Merce Cunningham in "Signals", Paris 1970 ©James Klosty|
|Merce Cunningham at his desk photo: Mondays with Merce|
|At the piano at Westbeth|
|Playing chess in Belgrade, 1972|
|Rehearsal at Westbeth in 1971|
|Rehearsing Cunningham's "Second Hand" at Westbeth in 1972, Carolyn Brown and Merce Cunningham dancing|
|At the Merce Cunningham Studio in Westbeth|
|Touring in France|
|"Rainforest" Merce Cunningham and Meg Harper decor:Andy Warhol ,"Silver Clouds" costumes:Jasper Johns|
|MERCE CUNNINGHAM AND BARBARA DILLEY|
|ANDY WARHOL AND MERCE CUNNINGHAM BACKSTAGE AT THE BROOKLYN ACADEMY OF MUSIC|
|MERCE CUNNINGHAM AND MEG HARPER ONSTAGE WITH ANDY WARHOL'S 'SILVER CLOUDS'|
There’s a whiff of glamour. Camera pans right onto phantomlike relatives adrift in a stylish celluloid limbo. Here is my perfect Italian family and its sprawling extended web. We are caught at birthdays, communions, and weddings…where every woman’s makeup is perfect and hair coiffed to the nth. They float on monochrome peau de soie stilettos that match their narrow-waist dresses while the men wear muted awkward grins and stand in proper trousers and dress shirts.Rail: You performed part of this work as the text for your incarnation of Steve Paxton’s Intravenous Lecture. Are you otherwise still dedicated to writing and choreography being separate activities?
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