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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

(p.115) (5) Bound and Unbound
Merce Cunningham

Carrie Noland

University of Chicago Press

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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