Step-by-step guide to dance: Lucinda Childs

a strong American experimental, avant-garde work that went with found objects to find a visual style for Philip Glass

In a word

See

face a portrait of Lucinda Childs (the "as Catherine Deneuve crossed with Katharine Hepburn," The New York Times), and you get a picture of her choreography: a clear, unadorned intelligence Acute beauty is somewhat illegible. great underlying structure

Backstory

children born in New York in 1940. After studying dance at university, he met Yvonne Rainer in the study of Cunningham, who invited him to join the new Judson Dance Theatre, a collective of avant-garde art movement that experimented with normal, non- theatrical spaces and found objects. For some years he lived a divided life: "I never gave the classic" he recalls, "but I also dedicated to the experience of Judson ... In the morning to go to ballet class and afternoon "to make mattresses and that sort of thing."

In 1968, tired of begging for dancers to work for free, completely left the dance to become a teacher. But five years later, with funding from the government, has launched his own company. Despite critical hits and innovative work - including that of Robert Wilson / Philip lens Einstein on the Beach (1976, co-choreography by Andy DeGroat) and dance (1979, with Glass and Sol LeWitt) - Children in difficulties find funding, and in 1980 was more generous offers of support from France. Since then he has worked more in France and in Europe and America - where even the 25 th anniversary season was delayed two years because of financial problems

It has also diversified, having received many orders dance companies such as Paris and Lyon Opera Ballet, the group Introdans Dutch, Italian and Aterballetto MaggioDanza the English Company and Rambert Dance American and Pacific Northwest Ballet , along with Martha Graham and Mikhail Baryshnikov. She has appeared as an actor / performer in several productions by Robert Wilson, and since 1992 has also worked as a choreographer and director of the opera, in particular, with Luc Bondy.

See Lucinda Childs

Children early work "- especially alone, without music -. The following were in the mind explorer Judson Dance Theatre Clavel (1964) was a series of bizarre but commonplace in the form of Robert Rauschenberg combine with a "found objects" such as curling irons, a strainer, a plastic bag, a sock. In Street Dance (1964) the public has heard the voice instructions, while another has disappeared Childs and dancer in a freight elevator door and reappeared in the streets.

In the 1970 displaced children conceptualism to minimalism, the construction of the choreography of repeating patterns and permutations, and the use of simple dance steps, but recognizable to create a kind of choreography and cell cumulative - "prehistoric ballet," as critic Arlene Croce said. Works like dancing (1979) and light (1983) characterize this approach, with the dancers that the atoms spinning and rubbing some large structure, more cosmic. The effect is not spectacular, but hypnotic. A brilliant game models, like the light in the water

also during this period, Childs began working on stage, with the scores and on a larger scale - an active output, especially, for his collaboration with Robert Wilson and Philip Glass Einstein on the Beach (1976). Since the 1980s, Childs has broadened its scope: it began to use the work advanced and expanded its selection of methods of music, theme and composition. However, some essential qualities remain: the simplicity of the presentation and the complexity of construction, increased interest in patterns of association, focusing on the form, clarity

Who's Who

Children has rarely worked with a regular, but there are some artists who have returned several times, composers Philip Glass and John Adams, Robert Wilson and directors Luc Bondy

Done

children, once made with a long white dress with ostrich feathers. The event was the artist James Lee Byars mile long march to the White Paper in 1965. Byars noted expenses: Dress, $ 288.75, a hat, $ 68.25, Lucinda Childs, $ 50

In his own words
"What we were fighting for - especially my generation - is the dance itself is a beautiful thing ... It may be the form itself, as an abstract form, and always be a moving experience, and human experience. "

From
Postscript

, a documentary by Patrick Bensard 2010.

"Even when I danced in silence, always considered my music because it was choreographed precision timing, phrasing and rhythm."

Interview with Jack Anderson

, New York Times, 1994.

"I liked the experiment while Judson, but at some point, I asked," Suppose you had to leave out the objects and text and trinkets that would remain? Appreciated only treat simple movements that can be regarded as probably the pedestrians. Walking, change direction, after the pop art, which seemed the end, the minimalist movement was anything but everything was starting out, everything could be reduced in appearance a. Simple. "

Interview with Alan Riding

, New York Times, 2000.

In other words

"pure Lucinda Childs, balls to spare suggest that his heart and mind living in an upper region of the sky. But his feet are clearly on the ground. "

Jennifer Dunning

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