By Libby Worth
This guidebook lines the life's paintings of radical dance-maker Anna Halprin, documenting her early occupation as a contemporary dancer within the Nineteen Forties via to the advance of her groundbreaking method of dance as an available artwork shape. lifestyles and paintings -- conception and perform -- The mountain performances, Circle the earth, and The planetary dance -- functional explorations
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Extra resources for Anna Halprin (Routledge Performance Practitioners)
Sample text
Forti took part in composer Robert Dunn’s dance composition classes held at the Cunningham studio (in 1960–2). These developed into radical forms of improvisatory performance given in a series of concerts from 1962 to 1964 at Judson Church in New York (the groups of performers became known collectively as the Judson Dance Theater). It was Forti who suggested early on in this process that members of the class take part in Halprin’s summer workshops in California. Subsequently in 1960 Yvonne Rainer (1934– ) (choreographer, dancer and filmmaker) and Ruth Emerson (choreographer and dancer) went with Forti and Morris to Halprin’s summer workshop where they worked alongside, amongst others, dancer and choreographer Trisha Brown, composer La Monte Young and actor John Graham.
Theatrical performances slipped into the background as Halprin began to focus her attention on investigating the inter-relationship between art and personal process, the creation of dances which carried meaning for the individuals and groups involved, dances which had the power to effect change in people’s lives. In the last two decades of the twentieth century Halprin developed the use of dance and visualizations, now referred to as the Psychokinetic Visualization Process, with people facing life-threatening illness.
Initiations and Transformations (1971) In 1971 following the trail blazed by Ceremony of Us the Dancers’ Workshop created a new multi-racial performance work Initiations and Transformations which incorporated Animal Ritual, a score also performed in its own right. The animal imagery created a cohesive whole integrating the diversity of movement styles in the group and facilitated the expression of archetypal themes and interactions such as conflict, territory, attraction, isolation, family and hunting.