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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

Bound and Unbound

Bound and Unbound

The Reconstruction of Crises

Chapter:
(p.115) (5) Bound and Unbound
Source:
Merce Cunningham
Author(s):

Carrie Noland

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226541389.003.0006

Cunningham often chose movement material with a specific dancer in mind; for Crises (1960) he created a movement gamut for his two lead dancers--Carolyn Brown and Viola Farber. To dramatize the complexity of their relationships, Cunningham employed an elastic band as a prop, binding two dancers together at various chance-determined points in the dance to create dramatic situations and to spur a transfer of movement qualities. I argue that reconstruction is a process that also requires both a transfer of both movement qualities and the evocation of dramatic relationships.

Keywords:   Crises, Viola Farber, Carolyn Brown, elastic, chance-determined, reconstruction, dramatic relationships, props, binding

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