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Assemblage
directed by Richard O. Moore, 1920-2015; composed by John Cage, 1912-1992, David Tudor, 1926-1996 and Gordon Mumma, 1935- (1968); choreographed by Merce Cunningham, 1919-2009; produced by KQED-TV; performed by Chase Robinson, fl. 1968, Mel Wong, 1939-2003, Jeff Slayton, fl. 1968, Susana Hayman-Chaffey, fl. 1976, Meg Harper, fl. 1976, Valda Setterfield, 1934-, Sandra Neels, Carolyn Brown and Merce Cunningham, 1919-2009, Merce Cunningham Dance Company, in Assemblage (New York, NY: Merce Cunningham Trust, 1968), 58 mins
Assemblage is a recently rediscovered film produced for broadcast by San Francisco's public television station KQED in November 1968. Created in collaboration with director and former dancer Richard Moore, the film features Cunningham dancing with early dance company members in a public "happening" in San Francisc...
Sample
directed by Richard O. Moore, 1920-2015; composed by John Cage, 1912-1992, David Tudor, 1926-1996 and Gordon Mumma, 1935- (1968); choreographed by Merce Cunningham, 1919-2009; produced by KQED-TV; performed by Chase Robinson, fl. 1968, Mel Wong, 1939-2003, Jeff Slayton, fl. 1968, Susana Hayman-Chaffey, fl. 1976, Meg Harper, fl. 1976, Valda Setterfield, 1934-, Sandra Neels, Carolyn Brown and Merce Cunningham, 1919-2009, Merce Cunningham Dance Company, in Assemblage (New York, NY: Merce Cunningham Trust, 1968), 58 mins
Description
Assemblage is a recently rediscovered film produced for broadcast by San Francisco's public television station KQED in November 1968. Created in collaboration with director and former dancer Richard Moore, the film features Cunningham dancing with early dance company members in a public "happening" in San Francisco's Ghirardelli Square. Conceived from the beginning as a dance staged for the camera, the performance is amplified by Moore's special...
Assemblage is a recently rediscovered film produced for broadcast by San Francisco's public television station KQED in November 1968. Created in collaboration with director and former dancer Richard Moore, the film features Cunningham dancing with early dance company members in a public "happening" in San Francisco's Ghirardelli Square. Conceived from the beginning as a dance staged for the camera, the performance is amplified by Moore's special effects and complemented with a soundtrack by John Cage, David Tudor and Gordon Mumma. A testament to Cunningham's groundbreaking investigations of dance and movement within the virtual spaces of film, Assemblage presents a dance that unfolds across fractured space and inside shattered time. Cunningham explained that "the finished film [would] deal not so much with dance in the narrow sense, but with various motions - boats moving, people walking, and, of course, groups dancing." On screen, Cunningham's dancers walk, frolic, and scramble through the shopping concourses and promenades of the square. The soundtrack, assembled contemporaneously by Cage, Tudor and Mumma, was likewise comprised of concrete sounds mostly recorded on-site around San Francisco.Cunningham and his company spent three weeks rehearsing and filming on location in fall 1968, creating what Moore described as "movement modules." From these sequences, Moore and film editor Bill Yahraus crafted a motion picture collage of overlapping movements and moments, which occur sometimes in fragmented film windows, sometimes within superimposed planes. Moore used extensive optical illusion and process photography, dancers were filmed as silhouettes and superimposed on different backgrounds. In one composited sequence, Cunningham's company becomes a miniaturized troupe of Lilliputian dancers, weaving in and out of the dancing legs of gigantic versions of themselves. Rediscovered after Cunningham's death, the restored Assemblage was transferred and colorized the film from the original 16mm prints by filmmaker Charles Atlas, a longtime collaborator on Cunningham's dance films.
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Date Written / Recorded
1968
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Merce Cunningham Dance Company, Chase Robinson, fl. 1968, Mel Wong, 1939-2003, Jeff Slayton, fl. 1968, Susana Hayman-Chaffey, fl. 1976, Meg Harper, fl. 1976, Valda Setterfield, 1934-, Sandra Neels, Carolyn Brown, Merce Cunningham, 1919-2009
Contributor
Merce Cunningham, 1919-2009, KQED-TV, Gordon Mumma, 1935-, David Tudor, 1926-1996, John Cage, 1912-1992
Author / Creator
Merce Cunningham, 1919-2009, John Cage, 1912-1992, David Tudor, 1926-1996, Gordon Mumma, 1935-, Richard O. Moore, 1920-2015, Merce Cunningham Dance Company, Chase Robinson, fl. 1968, Mel Wong, 1939-2003, Jeff Slayton, fl. 1968, Susana Hayman-Chaffey, fl. 1976, Meg Harper, fl. 1976, Valda Setterfield, 1934-, Sandra Neels, Carolyn Brown
Date Published / Released
1968
Publisher
Merce Cunningham Trust
Copyright Message
Copyright © 1968 Merce Cunningham Trust
Genre
Modern
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The Beloved
directed by James Truitte, 1923-1995; conducted by David LaMarche, fl. 1999; choreographed by Lester Horton, 1906-1953; designed by Zelda Wynn, 1905-2001; produced by Thomas Winther, fl. 1993; performed by Cassandra Phifer, fl. 1994 and Hugues Magen, fl. 1989, Dance Theatre of Harlem (ArtHaus Musik, 1989), 12 mins
The 'Dance Theatre of Harlem’s' birthplace was in a disused garage in Harlem, a black district of New York. Arthur Mitchell, the founder who still acts as its artistic director, set up the ballet school with the aim of giving black dancers the opportunity of sound training, as their skin color meant that they of...
Sample
directed by James Truitte, 1923-1995; conducted by David LaMarche, fl. 1999; choreographed by Lester Horton, 1906-1953; designed by Zelda Wynn, 1905-2001; produced by Thomas Winther, fl. 1993; performed by Cassandra Phifer, fl. 1994 and Hugues Magen, fl. 1989, Dance Theatre of Harlem (ArtHaus Musik, 1989), 12 mins
Description
The 'Dance Theatre of Harlem’s' birthplace was in a disused garage in Harlem, a black district of New York. Arthur Mitchell, the founder who still acts as its artistic director, set up the ballet school with the aim of giving black dancers the opportunity of sound training, as their skin color meant that they often encountered difficulties finding employment with existing companies which consisted mainly of white dancers. Since its humble begin...
The 'Dance Theatre of Harlem’s' birthplace was in a disused garage in Harlem, a black district of New York. Arthur Mitchell, the founder who still acts as its artistic director, set up the ballet school with the aim of giving black dancers the opportunity of sound training, as their skin color meant that they often encountered difficulties finding employment with existing companies which consisted mainly of white dancers. Since its humble beginnings in 1969 – it was founded shortly after the murder of Martin Luther King – the “Dance Theatre of Harlem” has attained worldwide status. Today the repertoire is performing a representative cross section from the history of artistic dancing. Alongside classics of the Russian school such as “Swan Lake” and 'Sheherazade' are shown the successful neoclassical dance routines from the years following the First World War as well as works by contemporary choreographers.
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Date Written / Recorded
1989
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Dance Theatre of Harlem, Cassandra Phifer, fl. 1994, Hugues Magen, fl. 1989
Contributor
Lester Horton, 1906-1953, David LaMarche, fl. 1999, Zelda Wynn, 1905-2001, Thomas Winther, fl. 1993, Judith Hamilton, fl. 1972, Dance Theatre of Harlem, Thomas Grimm, 1942-
Author / Creator
Lester Horton, 1906-1953, James Truitte, 1923-1995, Dance Theatre of Harlem, Cassandra Phifer, fl. 1994, Hugues Magen, fl. 1989
Date Published / Released
1989
Publisher
ArtHaus Musik
Topic / Theme
Dance
Genre
Modern
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Camera Three: A Video Event
directed by Merrill Brockway, 1923-2013; choreographed by Merce Cunningham, 1919-2009; designed by Jim Ryan, fl. 1974, Ralph Holmes, fl. 1977; produced by Merrill Brockway, 1923-2013; performed by Merce Cunningham Dance Company (Merce Cunningham Trust, 1974), 59 mins
Two half-hour programs featuring Cunningham and his Company. A marriage of choreography and video techniques occurs in this two-part program on Merce Cunningham and his dance company. Cunningham makes use of multiple screen images. An "video event" the program is comprised of excerpts from: "Winterbranch", "Second...
Sample
directed by Merrill Brockway, 1923-2013; choreographed by Merce Cunningham, 1919-2009; designed by Jim Ryan, fl. 1974, Ralph Holmes, fl. 1977; produced by Merrill Brockway, 1923-2013; performed by Merce Cunningham Dance Company (Merce Cunningham Trust, 1974), 59 mins
Description
Two half-hour programs featuring Cunningham and his Company. A marriage of choreography and video techniques occurs in this two-part program on Merce Cunningham and his dance company. Cunningham makes use of multiple screen images. An "video event" the program is comprised of excerpts from: "Winterbranch", "Second Hand", "Sounddance", "TV Rerun", "Changing Steps", "Landrover", "Signals" as well rehearsal and class footage.
Date Written / Recorded
1974
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Merce Cunningham Dance Company
Contributor
Merce Cunningham, 1919-2009, Ralph Holmes, fl. 1977, Merrill Brockway, 1923-2013, Jim Ryan, fl. 1974, Merce Cunningham Dance Company, Sandy Bell, fl. 1986-2016
Author / Creator
Merce Cunningham, 1919-2009, Merrill Brockway, 1923-2013, Merce Cunningham Dance Company
Date Published / Released
1974
Publisher
Merce Cunningham Trust
Topic / Theme
Dance
Genre
Modern, Documentary
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Changing Steps
directed by Elliot Caplan, fl. 1984-2013; choreographed by Merce Cunningham, 1919-2009; designed by Elliot Caplan, fl. 1984-2013, Mark Lancaster and Suzanne Gallo; produced by Elliot Caplan, fl. 1984-2013; performed by Merce Cunningham Dance Company (Merce Cunningham Trust, 1989), 36 mins
Video collage of different recordings of "Changing Steps" taped at the Merce Cunningham Studio at Westbeth, New York, April 1974; Bühen der Stadt in Bielefeld, Stadthalle in Neuss and Forum in Leverkusen, West Germany, June 1988; and Sundance Institute, Provo UT, and Sunrise Studios, Orem UT, October 1988. Merce...
Sample
directed by Elliot Caplan, fl. 1984-2013; choreographed by Merce Cunningham, 1919-2009; designed by Elliot Caplan, fl. 1984-2013, Mark Lancaster and Suzanne Gallo; produced by Elliot Caplan, fl. 1984-2013; performed by Merce Cunningham Dance Company (Merce Cunningham Trust, 1989), 36 mins
Description
Video collage of different recordings of "Changing Steps" taped at the Merce Cunningham Studio at Westbeth, New York, April 1974; Bühen der Stadt in Bielefeld, Stadthalle in Neuss and Forum in Leverkusen, West Germany, June 1988; and Sundance Institute, Provo UT, and Sunrise Studios, Orem UT, October 1988. Merce Cunningham choreographed "Changing Steps" in 1973. In its original form "Changing Steps" consisted of a solo dance for each member of t...
Video collage of different recordings of "Changing Steps" taped at the Merce Cunningham Studio at Westbeth, New York, April 1974; Bühen der Stadt in Bielefeld, Stadthalle in Neuss and Forum in Leverkusen, West Germany, June 1988; and Sundance Institute, Provo UT, and Sunrise Studios, Orem UT, October 1988. Merce Cunningham choreographed "Changing Steps" in 1973. In its original form "Changing Steps" consisted of a solo dance for each member of the company, 3 trios, 2 quartets and 2 quintets, which could be performed in order, and separately or overlapping if space allowed.
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Date Written / Recorded
1989
Field of Study
Classical Music
Content Type
Performance
Performer / Ensemble
Merce Cunningham Dance Company
Contributor
Merce Cunningham, 1919-2009, Mark Lancaster, Suzanne Gallo, Elliot Caplan, fl. 1984-2013, Merce Cunningham Dance Company
Author / Creator
Merce Cunningham, 1919-2009, Elliot Caplan, fl. 1984-2013, Merce Cunningham Dance Company
Date Published / Released
1989
Publisher
Merce Cunningham Trust
Person Discussed
Robert Redford, 1936-
Topic / Theme
Dance
Genre
Modern
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Choreography and Dance Studies Series, José Limón: The Artist Re-viewed
edited by June Dunbar, 1927-2011, Robert P. Cohan, fl. 1997 and Muriel Topaz, 1932-2003, in Choreography and Dance Studies Series (New York, NY: Routledge (Publisher), 2009, originally published 2000), 171 page(s)
Jose Limon is universally recognized as one of the most important modern dancers of the 20th century. His technique is still taught at major colleges and dance schools; his dance company continues to revive his works, plus presents new works. His most famous work, The Moor's Pavanne, has been presented around the...
Sample
edited by June Dunbar, 1927-2011, Robert P. Cohan, fl. 1997 and Muriel Topaz, 1932-2003, in Choreography and Dance Studies Series (New York, NY: Routledge (Publisher), 2009, originally published 2000), 171 page(s)
Description
Jose Limon is universally recognized as one of the most important modern dancers of the 20th century. His technique is still taught at major colleges and dance schools; his dance company continues to revive his works, plus presents new works. His most famous work, The Moor's Pavanne, has been presented around the world by ballet and modern dance companies. This book presents a series of essays about Limon's life and works by noted scholars and da...
Jose Limon is universally recognized as one of the most important modern dancers of the 20th century. His technique is still taught at major colleges and dance schools; his dance company continues to revive his works, plus presents new works. His most famous work, The Moor's Pavanne, has been presented around the world by ballet and modern dance companies. This book presents a series of essays about Limon's life and works by noted scholars and dancers who were associated with Limon. It serves as a perfect introduction to his choreography and legacy. The book should appeal to fans of modern dance.
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Field of Study
Dance
Content Type
General reference book
Contributor
June Dunbar, 1927-2011, Robert P. Cohan, fl. 1997, Muriel Topaz, 1932-2003
Date Published / Released
2000, 2009
Publisher
Routledge (Publisher)
Series
Choreography and Dance Studies Series
Person Discussed
José Limón, 1908-1962
Topic / Theme
Dance companies, Choreography, Choreographers, Modern
Copyright Message
Copyright © 2000 OPA The Taylor & Francis Publishing Group.
Genre
Modern
Sections
×
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Crises
directed by Helen Priest Rogers, fl. 1940; composed by Conlon Nancarrow, 1912-; choreographed by Merce Cunningham, 1919-2009; produced by American Dance Festival; performed by Marilyn Wood, fl. 1961, Viola Farber, 1931-1998, Judith Dunn, 1933-1983, Merce Cunningham, 1919-2009 and Carolyn Brown, Merce Cunningham Dance Company, in Crises (1961) (New York, NY: Merce Cunningham Trust, 1961), 23 mins
First performed at the 13th American Dance Festival in the summer of 1960, Crises was described by Cunningham as "an adventure in togetherness." Choreographed for four women and one man, the dance focused on physical contact between the dancers. The physical entanglements came both through holding each other and b...
Sample
directed by Helen Priest Rogers, fl. 1940; composed by Conlon Nancarrow, 1912-; choreographed by Merce Cunningham, 1919-2009; produced by American Dance Festival; performed by Marilyn Wood, fl. 1961, Viola Farber, 1931-1998, Judith Dunn, 1933-1983, Merce Cunningham, 1919-2009 and Carolyn Brown, Merce Cunningham Dance Company, in Crises (1961) (New York, NY: Merce Cunningham Trust, 1961), 23 mins
Description
First performed at the 13th American Dance Festival in the summer of 1960, Crises was described by Cunningham as "an adventure in togetherness." Choreographed for four women and one man, the dance focused on physical contact between the dancers. The physical entanglements came both through holding each other and being held, and through elastic bands, worn around a wrist, an arm, a waist or a leg, which connected the dancers in various positions....
First performed at the 13th American Dance Festival in the summer of 1960, Crises was described by Cunningham as "an adventure in togetherness." Choreographed for four women and one man, the dance focused on physical contact between the dancers. The physical entanglements came both through holding each other and being held, and through elastic bands, worn around a wrist, an arm, a waist or a leg, which connected the dancers in various positions. Cage noted, "This is a dramatic, though not a narrative, dance concerned with decisive moments in the relationship between a man and four women." Conlon Nancarrow's musical score reinforced the dance's harsh atmosphere with an assortment of jangling rhythms, and Rauschenberg's costumes were leotards in various shades of red, evoking the romance of the piece. This film, shot during rehearsal at the 1961 American Dance Festival at Connecticut College, has historically been the definitive reference for the dance Crises, and is the only motion picture of Cunningham performing the dance with the original cast. The newly restored Crises was digitized from the original black and white 16mm reversal print held in the American Dance Festival Archives, and coupled with an audio restoration of the original recording of Nancarrow's Rhythm Studies for Player Piano.
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Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Merce Cunningham Dance Company, Marilyn Wood, fl. 1961, Viola Farber, 1931-1998, Judith Dunn, 1933-1983, Merce Cunningham, 1919-2009, Carolyn Brown
Contributor
Merce Cunningham, 1919-2009, American Dance Festival
Author / Creator
Merce Cunningham, 1919-2009, Conlon Nancarrow, 1912-, Helen Priest Rogers, fl. 1940, Merce Cunningham Dance Company, Marilyn Wood, fl. 1961, Viola Farber, 1931-1998, Judith Dunn, 1933-1983, Carolyn Brown
Date Published / Released
1961
Publisher
Merce Cunningham Trust
Copyright Message
Copyright © 1961 Merce Cunningham Trust
Genre
Modern
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Critical Voices in Art, Theory and Culture, Footnotes: Six Choreographers Inscribe the Page
written by Elena Alexander, 1944-, in Critical Voices in Art, Theory and Culture (New York, NY: Routledge (Publisher), 2012, originally published 1998), 193 page(s)
This book, part of the Critical Voices in Art, Theory and Culture series, is a collection of essays by six choreographers, with commentaries by poet Elena Alexander.
Sample
written by Elena Alexander, 1944-, in Critical Voices in Art, Theory and Culture (New York, NY: Routledge (Publisher), 2012, originally published 1998), 193 page(s)
Description
This book, part of the Critical Voices in Art, Theory and Culture series, is a collection of essays by six choreographers, with commentaries by poet Elena Alexander.
Field of Study
Dance
Content Type
General reference book
Author / Creator
Elena Alexander, 1944-
Date Published / Released
1998, 2012
Publisher
Routledge (Publisher)
Series
Critical Voices in Art, Theory and Culture
Topic / Theme
Dances, Dance technique, Dance theory, Choreographers, Choreography, Modern
Copyright Message
Copyright © 1998 OPDA (Overseas Publishers Association) N.V.
Genre
Modern
Sections
×
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Dance On with Billie Mahoney, Alwin Nikolais
produced by Billie Mahoney, 1927-; interview by Billie Mahoney, 1927-; performed by Alwin Nikolais, 1910-1993 and Billie Mahoney, 1927-, in Dance On with Billie Mahoney (Kansas City, MO: Dance On Video, 1982), 28 mins
Billie Mahoney interviews Alwin Nikolais, who was her first dance teacher at Colorado College. They discuss his beginnings as a professional musician and accompanist for dance, his interest in percussion music which subsequently led him to study dance, the influence of Mary Wigman and Hanya Holm, study at Benningt...
Sample
produced by Billie Mahoney, 1927-; interview by Billie Mahoney, 1927-; performed by Alwin Nikolais, 1910-1993 and Billie Mahoney, 1927-, in Dance On with Billie Mahoney (Kansas City, MO: Dance On Video, 1982), 28 mins
Description
Billie Mahoney interviews Alwin Nikolais, who was her first dance teacher at Colorado College. They discuss his beginnings as a professional musician and accompanist for dance, his interest in percussion music which subsequently led him to study dance, the influence of Mary Wigman and Hanya Holm, study at Bennington College, his notation system, teaching at Connecticut [actually Colorado] College, his European tours, his association with Murray L...
Billie Mahoney interviews Alwin Nikolais, who was her first dance teacher at Colorado College. They discuss his beginnings as a professional musician and accompanist for dance, his interest in percussion music which subsequently led him to study dance, the influence of Mary Wigman and Hanya Holm, study at Bennington College, his notation system, teaching at Connecticut [actually Colorado] College, his European tours, his association with Murray Louis, teaching at the Centre National de Danse Contemporaine in Angers, France, and his ballet Schema, produced by the Paris Opéra.
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Date Written / Recorded
1982
Field of Study
Dance
Content Type
Interview
Performer / Ensemble
Alwin Nikolais, 1910-1993, Billie Mahoney, 1927-
Contributor
Billie Mahoney, 1927-, Jon Hutcheson, fl. 1981
Author / Creator
Billie Mahoney, 1927-, Alwin Nikolais, 1910-1993
Date Published / Released
1982
Publisher
Dance On Video
Series
Dance On with Billie Mahoney
Person Discussed
Alwin Nikolais, 1910-1993
Topic / Theme
Dance
Copyright Message
Copyright © 1982 by Dance On Video
Genre
Interview, Modern
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de l'eau
directed by Douglas Rosenberg, fl. 2011; choreographed by Li Chiao-Ping; produced by Douglas Rosenberg, fl. 2011; performed by Li Chiao-Ping and Tim Glenn, fl. 1987 (Art Works Video, 1996), 11 mins
Two video/dance collaborations by Douglas Rosenberg and choreographer Li Chiao-Ping. EPIC (THE LAND WITHIN) uses text, landscape imagery and performance by members of the Dziga Vertov Performance Group to present an expressionistic dance possible only for the camera. De L'Eau, choreographed by Li Chiao-Ping for he...
Sample
directed by Douglas Rosenberg, fl. 2011; choreographed by Li Chiao-Ping; produced by Douglas Rosenberg, fl. 2011; performed by Li Chiao-Ping and Tim Glenn, fl. 1987 (Art Works Video, 1996), 11 mins
Description
Two video/dance collaborations by Douglas Rosenberg and choreographer Li Chiao-Ping. EPIC (THE LAND WITHIN) uses text, landscape imagery and performance by members of the Dziga Vertov Performance Group to present an expressionistic dance possible only for the camera. De L'Eau, choreographed by Li Chiao-Ping for herself and a male dancer takes place in an abandoned swimming pool. This piece is athletic, risky and elegant.
Date Written / Recorded
1995
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Li Chiao-Ping, Tim Glenn, fl. 1987
Contributor
Li Chiao-Ping, Scott Wells, fl. 1992, Douglas Rosenberg, fl. 2011, Maurice Ravel, 1875-1937
Author / Creator
Li Chiao-Ping, Douglas Rosenberg, fl. 2011, Tim Glenn, fl. 1987
Date Published / Released
1996
Publisher
Art Works Video
Topic / Theme
Dance
Genre
Modern
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Dead Dreams of Monochrome Men
directed by David Hinton, 1950-; choreographed by Lloyd Newson; performed by Lloyd Newson, Nigel Charnock, 1960-2012, Russell Maliphant, 1961- and Douglas Wright, 1956-, DV8 Physical Theatre (ArtHaus Musik, 1996), 51 mins
Strange Fish As in all DV8's work, the performers in Strange Fish take astounding and humbling physical risks, and are audacious in fashioning metaphors of extreme emotion. The work concerns the nature of our quest for someone to love and something, or someone, to believe in. The tyranny of couples and groups, the...
Sample
directed by David Hinton, 1950-; choreographed by Lloyd Newson; performed by Lloyd Newson, Nigel Charnock, 1960-2012, Russell Maliphant, 1961- and Douglas Wright, 1956-, DV8 Physical Theatre (ArtHaus Musik, 1996), 51 mins
Description
Strange Fish As in all DV8's work, the performers in Strange Fish take astounding and humbling physical risks, and are audacious in fashioning metaphors of extreme emotion. The work concerns the nature of our quest for someone to love and something, or someone, to believe in. The tyranny of couples and groups, the pain of not belonging and the terror of being alone are all laid bare in a series of powerful images which are both pitiless and profo...
Strange Fish As in all DV8's work, the performers in Strange Fish take astounding and humbling physical risks, and are audacious in fashioning metaphors of extreme emotion. The work concerns the nature of our quest for someone to love and something, or someone, to believe in. The tyranny of couples and groups, the pain of not belonging and the terror of being alone are all laid bare in a series of powerful images which are both pitiless and profoundly compassionate. Strange Fish is harrowing and frightening, but also contains some acutely funny moments. Dead Dreams of Monochrome Men explores the grisley world of the notorious serial killer Dennis Nilsen. Founded upon the conviction that societal homophobia is bound to result in tragic consequences, it gets to grips with the disturbing forces that drove Nilson to kill for company. In the anguished twilight between the meatmarket of gay clubland and broken-hearted bedsitterland, the fine line between sex and death is all but erased. Harrowing, and bleak, the fierce physical action that has become DV8's trademark is nevertheless shaped into a forceful plea for humanity in a dehumanising world. Enter Achilles A funny, cruel exploration of the male psyche, Enter Achilles is set in a typical British pub, a shabby, nicotine-stained boozer. Pop songs tumble out of the jukebox, there is football on the TV, and the eight men lark around, pint glasses in hand. But their blokish fun is balanced on a knife-edge of tension, for beneath the mateyness lurks a disturbing undercurrent of paranoia and insecurity, where weakness is brutally exploited and violence covers up vulnerability.
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Date Written / Recorded
2007
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
DV8 Physical Theatre, Lloyd Newson, Nigel Charnock, 1960-2012, Russell Maliphant, 1961-, Douglas Wright, 1956-
Contributor
Lloyd Newson, Sally Herbert, DV8 Physical Theatre
Author / Creator
Lloyd Newson, David Hinton, 1950-, DV8 Physical Theatre, Nigel Charnock, 1960-2012, Russell Maliphant, 1961-, Douglas Wright, 1956-
Date Published / Released
1996
Publisher
ArtHaus Musik
Topic / Theme
Dance
Genre
Modern
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