Judson Dance Theater


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Judson Dance Theater,

a loose collective of dancers, musicians, and visual artists that produced an influential series of avant-garde performance pieces at Judson Memorial Church in New York City's Greenwich VillageGreenwich Village
, residential district of lower Manhattan, New York City, extending S from 14th St. to Houston St. and W from Washington Square to the Hudson River. North of the main settlement of New York City in colonial times, in the 1830s it became an exclusive residential
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 between 1962 and 1964. Growing out of classes taught by Robert Dunn at the studio of modern dancer Merce CunninghamCunningham, Merce
(Mercier Philip Cunningham), 1919–2009, American modern dancer and choreographer, b. Centralia, Wash. Cunningham studied modern dance with Martha Graham and ballet at Balanchine's School of American Ballet.
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, the performances featured works by Trisha BrownBrown, Trisha,
1936–2017, American dancer and choreographer acclaimed for having revolutionized modern dance in the late 20th cent., b. Aberdeen, Wash. After studying dance at Mills College (B.A.
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, Yvonne Rainer, Steve Paxton, Lucinda Childs, David Gordon, Deborah Hay, and others. The artists Robert RauschenbergRauschenberg, Robert
, 1925–2008, American painter, b. Port Arthur, Tex., as Milton Ernest Rauschenberg. He studied at the Kansas City Art Institute, with Josef Albers at Black Mountain College, and at New York's Art Students League.
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 and Robert MorrisMorris, Robert
(Robert Eugene Morris), 1931–2018, American artist, b. Kansas City, Mo., studied Kansas City Art Institute, California School of Fine Arts, Reed College. He settled in New York City in 1959.
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, the composer John CageCage, John,
1912–92, American composer, b. Los Angeles. A leading figure in the musical avant-garde from the late 1930s, he attended Pomona College and later studied with Arnold Schoenberg, Adolph Weiss, and Henry Cowell.
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, and other visual artists and composers were also involved, expanding the interpretation of dance to include other art forms. Individual choreographers subsequently further explored the philosophy and concepts of the group, including in multimedia performances and happeningshappening,
an artistic event of a theatrical nature, but usually improvised spontaneously without the framework of a plot. The term originated with the creation and performance in 1959 of Allan Kaprow's "18 Happenings in 6 Parts.
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.
References in periodicals archive ?
The postmodern choreographer and director came to prominence in the 1960s and '70s, first with Judson Dance Theater and then with her own eponymous company.
That evening and some evenings after collectively became known as the Judson Dance Theater. The program was a signpost for both democracy and postmodernism, an unlikely pair.
That daring, convention-breaking spirit paved the way for the postmodern dance greats who emerged out of the Judson Dance Theater in the early 1960s like Trisha Brown, Steve Paxton and Yvonne Rainer.
JOE GOODE ADMIRED THE CEREBRAL CONCERNS WITH formal structures that dominated New York dance in the 1970s, though postmodernists like David Gordon, Deborah Hay, Meredith Monk and the Judson Dance Theater were also treading the boundaries of movement and text.
As a founding member of the Judson Dance Theater, along with Yvonne Rainer, Steve Paxton, Elaine Summers, and others, Schneemann's primary interest was in kinesthesia, or bodily sensations, hence, her chosen term "kinetic theater" to describe her early performance productions involving multiple participants.
"One of the Judson Dance Theater dancers Freddy Herko, who Warhol was fascinated by, took so much amphetamine that he finally flipped and danced his way from a fifth floor window to the sounds of Mozart's Sanctus.
For a monographic study, the long first chapter on "Judson Dance Theater in Hindsight" situates Rainer's work firmly within its historical context, first in relation to Happenings and Fluxus, and then to the early experiments of the Judson workshop.
In the early 1970s at New York's Judson Dance Theater, a home of postmodern dance, one of the founders, Steve Paxton, decided to see what happened when bodies went flying toward one another in a sort of throw-it-all-at-the-wall-and-see-what-sticks approach to movement.
Discussed or at least alluded to in the entries are the theater contributions of Ibsen, Strindberg, Chekhov, Stanislavsky, Pirandello, Stein, Brecht, Beckett, Artaud, Genet, Grotowski, Brook, Williams, and Shepard; the visual-arts contributions of Duchamp, Picasso, Pollock; the musical contributions of Mozart, Wagner, Stravinsky, Weill, Boulez, Cage; the dance contributions of Balanchine, Graham, Cunningham, the Judson Dance Theater; in philosophy the contributions of Marx, Freud, Wittgenstein, Foucault; and in belles lettres the contributions of Thoreau, Rousseau, Yeats, Pound, Eliot, and Barthes, not to omit the Greeks or Shakespeare.
In the 1960s, Yvonne Rainer, one of the Judson Dance Theater's most influential choreographers, heralded a new mood in dance, saying "NO to spectacle no to virtuosity no to transformations and magic and make-believe no to the glamour and transcendency of the star image." Dance was not a display of virtuosic technique, Rainer and others insisted, it was "movement." Anyone could do it.
Denis; its modernists, Martha Graham, Doris Humphrey, Merce Cunningham and Paul Taylor; and the postmodern Judson Dance Theater and Grand Union).
As one of the first five students in Robert Dunn's John Cage--inspired composition course (that led to Judson Dance Theater), she was a magnet for two others in that class: Yvonne Rainer and Steve Paxton.