Download Anna Halprin (Routledge Performance Practitioners) by Libby Worth PDF

By Libby Worth

This guidebook strains the life's paintings of radical dance-maker Anna Halprin, documenting her early profession as a latest dancer within the Nineteen Forties via to the improvement of her groundbreaking method of dance as an available artwork shape. lifestyles and paintings -- idea and perform -- The mountain performances, Circle the earth, and The planetary dance -- functional explorations

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She began to reclaim public places as sites for her work which on several occasions resulted in clashes with the authorities. The Dancers’ Workshop staged a march with blank placards through the centre of San Francisco symbolizing their right to perform anywhere in the city, and in Automobile Event (1968) used cars in the street as an environment for movement (Halprin 1995: 9, 11). There are parallels between Halprin’s work of this era and the ‘Happenings’ on the East Coast. Halprin aligned her work more closely with the beginnings of performance art and avant-garde theatre than she did with the dance establishment.

In her role as director Halprin responded to what was happening in the moment, modifying scores, introducing new ones or integrating suggestions from participants. Myths were in every sense ‘live’ events. The transformation from ‘performance’ to participatory event demanded an equivalent transformation in the role of the artist, from controlling artistic genius to creative facilitator and collaborator. The Dancers’ Workshop also created events in non-theatre venues. Bath (1967), a ‘spontaneous theatre piece’ created in response to the fountain in a museum courtyard in Connecticut, evolved out of several months of workshop explorations on the theme of bathing.

She just burst out of the “Trance Dance” we were doing and she did a dance that was . . she was just out of her mind’ (Pierce 1975: 9). The outdoor deck and studio at Kentfield has remained a meeting place for artists to exchange ideas and methods of working even when styles are apparently very different. For example although not particularly LIFE AND WORK 39 40 LIFE AND WORK drawn to the Japanese form of contemporary dance called Butoh (full name Ankoku Butoh – Dance of Total Darkness) which has become too rigidly codified for her taste, Halprin greatly appreciated the work of individual dancers who have worked closely with or within the Butoh style.

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