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Merce CunninghamAfter the Arbitrary$
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Carrie Noland

Print publication date: 2020

Print ISBN-13: 9780226541105

Published to Chicago Scholarship Online: September 2020

DOI: 10.7208/chicago/9780226541389.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 27 September 2021

“Passion in Slow Motion”

“Passion in Slow Motion”

Suite for Five and the Photographic Impulse

Chapter:
(p.92) (4) “Passion in Slow Motion”
Source:
Merce Cunningham
Author(s):

Carrie Noland

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226541389.003.0005

Cunningham began employing the photograph as content in "Extended Moment," a duet in Suite for Five that he choreographed for himself and Carolyn Brown in 1958. A study of the Choreographic Records reveals that he recycled poses from earlier dances that had been captured by his friend, Louis Stevenson, in a set of studio stills. I argue that Cunningham displays a “photographic sensibility” that punctuates heightened passion with rhythmic interruption. By integrating studio stills into his movement gamut, he brings out the theatricality of the photograph while simultaneously underscoring the montage-like quality of dance.

Keywords:   Carolyn Brown, Choreographic Records, Extended Moment, Suite for Five, recycled, Louis Stevenson, photographic sensibility, photograph, photographic, montage

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