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DNCE 345 - Test 3 > Lecture 10 > Flashcards

Lecture 10 Flashcards

1
Q

what did paul taylor start as

A

swimmer and painter

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2
Q

when did paul taylor discover modern dance

A

university

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3
Q

whose company did paul taylor join in 1953

A

martha graham

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4
Q

besides martha grahams, who else’s company did paul taylor perform in

A

balanchine and cunningham

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5
Q

what style did paul taylor perform

A

ballet and modern dance

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6
Q

with which company did paul taylor spend most of his time

A

martha graham

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7
Q

how similar was the work paul taylor created compared to martha grahams

A

didnt even vaguely resemble it, she called him the naughty boy because he was so different

  • wanted to do everything in his work to get away from his work
  • tried to find ways to annoy her
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8
Q

costumes of paul taylor dancers

A

full body costumes, even covered their faces

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9
Q

did paul taylor respect martha graham

A

yes

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10
Q

during what era did paul taylor begin choreographing

A

an era of experimentation with minimalist movement

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11
Q

how was paul taylor similar to cunningham

A

experimented with post modern ideas like minimalist movements

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12
Q

paul taylor’s untitled duet

A

he and another dancer onstage, he stood and she sat on the stage, neither of them moving, for the 3 minute perfomance

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13
Q

did paul taylor follow along his trend of minimalist movement

A

no, he soon embraced movement wholeheartedly

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14
Q

what were the 3 categories of paul taylor’s choreographic characteristics

A

dancers are individuals
eclectic style
movement qualities

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15
Q

paul taylor choreography: dancers are individuals

A
  • real people with unique personalities and talents
  • used different heights to celebrate differences in his dances
  • choreography took advantage of the unique talents of each dancer (shows what they do best)
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16
Q

what did paul taylor think was more important: the choreography or the company morale

A

company morale, the dancers wouldnt be performing well if they werent happy

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17
Q

4 kinds of works paul taylor created

A

abstract
serious
satirical
humorous

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18
Q

paul taylors abstract works

A

joyous celebrations of movement

  • dancers smiling and happy onstage
  • uplifting, playful, fun
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19
Q

ex of paul taylors abstract works

A

aureole

esplanade

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20
Q

paul taylors serious works

A

made social commentary

- had a theme

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21
Q

ex of paul taylors serious works

A

banquet of vultures

- his version of the green table

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22
Q

ex paul taylors satirical works

A

sea to shining sea

- ridiculed american icons like statue of liberty, kkk, superman

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23
Q

paul taylors humorous works

A

situational humor
(not the movement) so something like slipping on a banana
- playful

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24
Q

ex of paul taylors humorous works

A

trollies and cressida

- humorous version of shakespeares play

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25
Q

3 ways paul taylor described his movement

A

lyric, dance scribbling, flat

26
Q

lyric style of paul taylors movement

A

long arms

27
Q

dance scribbling style of paul taylors movement

A

emphasis on action rather than shape or line in space, dancer never stops moving

28
Q

flat style of paul taylors movement

A

2d quality, like those on ancient greek vases

29
Q

paul taylor was one of the first modern choreographers to have his works performed by

A

ballet companies

30
Q

modern vs postmodern dance:

design and chance

A 
m = design, performed the same each time and nothing left to chance
pm = chance, cunninghams choreographic process left everything to chance
31
Q

modern vs postmodern dance:

centering and dispersal

A 
m = centering, always a central focus
pm = breaks down hierarchy of events, all equally important
32
Q

modern vs postmodern dance:

purpose and play

A 
m = purpose, serious purpose
pm = play, playing around with the movement, improvising
33
Q

modern vs postmodern dance:

art object/finished work and process

A 
m = art object/finished work, created rehearsed and performed a work in its finished form
pm = process, work performed while still in progress, wanted some feedback on it
34
Q

modern vs postmodern dance:

creation and deconstruction

A 
m = creation
pm = deconstruction = idea of pulling something apart, stripping it bare to its structure
35
Q

modern vs postmodern dance:

narrative and anti narrrative

A 
m = narrative, tells a story about something, linear
pm = anti narrative, not the absence of narrative or abstract but rather playing around with narrative, may tell a story backwards
36
Q

modern vs postmodern dance:

gender and androgynous

A 
m = gender, distinct genders
pm = androgynous, cant tell if male or female, may have same costumes
37
Q

modern vs postmodern dance:

readerly and writerly

A 
m = readerly, choreographer has very specific idea to be communicated to the audience, want the audience to read it the way it was written
pm = writerly, there are multiple interpretations, all equally valid interpretations, depends on the audience, audience is writing the meaning of the work
38
Q

who first used the term postmodern dance

A

yvonne rainer

- postmodern dancer/choreographer

39
Q

how did rainer mean the term postmodern dance

A

purely in the chronological sense, everything that happened after modern dance

40
Q

t or f: postmodern dance had an identifiable style in 1960s

A

false, didn’t. rather was a shared attitude and philosophy in rejecting what had come before

41
Q

how many phases of postmodern dance

A

3

42
Q

phases of postmodern dance

A
  1. breakaway period
  2. analytic/metaphoric pm dance
  3. return of content
43
Q

breakaway period of pm dance

A

choreographers were breaking away from the modern dance aesthetic - making dance more accessible to everyone as they thought it had become too elitist

44
Q

was cunninghams work and approach seen as too elitist by the pms

A

yes, it was highly technical (not everyone had access to the training in order to become one of his dancers), he only worked with highly trained dancers, he presented his work in theatres

45
Q

3 questions posed by pm choreographers

A
  1. what is dance
  2. where should it be performed
  3. who should perform
46
Q

what is dance questions posed by pm choreographers

A

they expanded the definition to include non dance forms
- dance could be anything
- pedestrian movement (things people do in their everyday lives - sitting, walking, playing a game, sports)
* if you moved it was called dancing
it was about the context not the content, if you said you were creating a dance then it is a dance

47
Q

where should it be performed questions posed by pm choreographers

A

took dance out of the proscenium arch theatre and performed in a variety of different venues

  • art galleries, museums, sidewalks, rooftops
  • can be performed wherever someone wanted
48
Q

who should perform questions posed by pm choreographers

A

rejected the notion that only highly trained dancers could perform
- used untrained dancers in their work
- wanted to make dance more participatory
created dance collectives rather than companies (number of choreographers who performed in each others works and presented them on the same evening

49
Q

why did pm choreographers think modern dance had become an elitist art

A
  • required years of highly specialized training
  • not accessible to everyone
  • dance companies were elitist and hierarchical (dancers only performed the works of the artistic directors of the company they were with)
  • young choreographers were not given a chance to choreograph
50
Q

what was the most well known dance collective

A

judson church group

51
Q

judson church group

A

first dance recital held at judson memorial church theatre in NY

  • became the centre for experimental dane in the 60s and 70s
  • the bennington college for pm generation
52
Q

by when did pm dance develop an identifiable style

A

1970s

- 2 at this time: analytic and metaphoric

53
Q

analytic phase of pm dance

A

characterized by rejection of all the expressive elements of dance

54
Q

what did analytic pm dance look like

A

no real music, sometimes total silence

  • performers wore functional clothing
  • movement was objective /analytical /unemotional /nonexpressive /intellectual (thinking what you were doing)
55
Q

what did analytical pm dance place an emphasis on

A

deconstructing choreographic structure - the process of choreographing a dance would be revealed to the audience

56
Q

what was something not yet explored prior to analytic pm dance

A

choreographic devices/tools

  • repetition
  • retrograde
57
Q

repetition choreographic device/tool

A

repeating a movement over and over

58
Q

retrograde choreographic device/tool

A

sometimes called reverse

- as if you were rewinding a videotape

59
Q

what would asking for a movement in reverse mean today

A

doing it with the other side of the body

60
Q

t or f: choreographic devices were revealed to the audience

A

true

61
Q

what were invented and the accomplished or solved in pm analytic dances

A

rules, tasks and games

- set themselves tasks or challenges onstage and them accomplished them

62
Q

ex of analytic pm choreographer

A

trisha brown

DNCE 345 - Test 3 (5 decks)

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