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Please, please, please, check this out: Jackie Chan Halloween Costume Contest

Ghost Moth(Daniel Carter on flute, clarinet, trumpet, alto and tenor sax, Todd Brooks on prepared guitar and electronics, Robbie McDonald on homemade analog synth boxes & tape manipulation)

Nancy Garcia (solo)

Shelf Life

illinois payson

9pm
Goodbye Blue Monday
1087 Broadway, near Dodworth St (JMZ to Myrtle Ave)
718.453.6343

Goodbye Blue Monday’s Myspace page here

Google books brought me a gift today. And I’ll share it with you. Click on Critical Gestures: Writings on Dance and Culture by Ann Daly.

Media Art Net, or Medien Kunst Netz has some great images and thorough information about media art and artists.

The site is broken down into nine topics:

wonderful article about Yvonne Rainer and her work.

from Art Journal, Fall 2004, by Carrie Lambert.

“…and pulled out their hair” by Berlin-based choreographer Jeremy Wade is outstanding. I went with two friends last night, both of which have seen a lot of dance, and we all agreed: This is the best performance dance work we had seen in a LONG time. I kid you not, if you have plans tonight, change them. It’s that good. Tonight is the last day of the show. Jeremy and his four dancers deliver ten-fold. Trust me, go.

http://joyce.org/calendar_detail.php?event=103&theater=2

The roundtable discussion, “Approaches to Collaboration: Choreographers and Visual Artists,” took place on Saturday, September 8th at The Philoctetes Center for the Multidisciplinary Study of Imagination at the New York Psychoanalytic Institute, on the upper east side. Collaborative models for performance were discussed.

Link to complete description of event and panelist bios

Following are my notes from the panel, as discussed by Noel Carroll, Roger Copeland, Mary Fleischer, Lynn Garafola, and Yvonne Rainer.

Ballet Russes’ collaborative model exemplified the Wagnerian idea of Gesamtkunswerk, or “total work of art,” via a synthesis of poetry, scenic design, staging, action, and music.

The ballet Parade was cited as a very early example of artistic collaboration, composed for Serge Diaghilev’s Ballets Russes 1916-1917. Choreography by Léonide Massine (who was also dancing), music by Erik Satie, a one-act scenario by Jean Cocteau, costumes and sets designed by Pablo Picasso, and the orchestra conducted by Ernest Ansermet. Painter Henri Matisse also did sets and costumes for another of Ballet Russes Le Chant du Rossignol 1920 (or The Song of the Nightingale).

Link to Parade Wikipedia entry

Apparently, George Balanchine (one of the founders of New York City Ballet), was not so interested in visual aspects such as costuming and sets, but he was interested in lighting. Another choreographer who was very involved with lighting was Louie Fuller. She is considered a pioneer of both modern dance and theatrical lighting techniques.

Link to info about Louie Fuller

There was a good time spent on the Cage/Cunningham collaborative model. Both artists were in favor of “disillusion,” but for different reasons.
While Cunningham is a defender of the autonomy of the art form (in his case it would be dance), Cage is more of an integrationist, a descendant of Marcel Duchamp’s ideas who also wanted to dissolve the distance between art and life. Where Cage and Cunningham agree is on strategy: the use of aleatoric methods.

Yvonne Rainer called this collaborative model “mechanical,” where there is no apparent conversation between the collaborators. She cites a piece by choreographer John Jasperse, whose name she didn’t say but because of her description I suspect she meant California, as a good example of the integration of the stage elements (that set was designed by Ammar Eloueini).