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"Contempory choreographers who built on the radical experimental work of the 1960's have gradually reintroduced in new guises much of what was discarded" (Bremser)To what extent is this true of the 2 works you have studied?

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Introduction

Jenni Lewis "Contempory choreographers who built on the radical experimental work of the 1960's have gradually reintroduced in new guises much of what was discarded" (Bremser) To what extent is this true of the 2 works you have studied? The work of post-modern dance company Judson Dance Theatre in America during the 1960's stripped away conventional dance form to produce a new style of movement that experimented with the way in which the dancers body could move. Minimalist, gestural or pedestrian movement was added to the vocabulary of dance movement. The style focussed on the movement of the dancer, visually spectacular and technically demanding movement began to develop, with inspiration drawn from other forms of movement like martial arts. The process of choreography changed to develop a style called contact improvisation, often performed as it was created as the emphasis of the dance began to move from the product to the process. ...read more.

Middle

The use of contact improvisation techniques developed by Judson Dance Theatre inthe1960's are also clear, the use of lifts, rolls, support, counter-balance to convey the struggles of love and obstacles which need to be overcome. The use of pedestrian and gestural movement is used by Snaith to communicate mundane tasks, rituals of relationship. The use of an actor/narrator figure within the dance is an important factor developed from post-modern dance that has been re-introduced by Yolande Snaith. Her writer character walks around as a non-dancer, briefly interacting with the dancer's to manipulate the action of the swinging pendulum. The collage structure of the dance, which is especially evident in the videoed version of the dance, is another feature of the post-modern dance movement re-introduced by Snaith. The movement is technically challenging, interesting and uses varied styles of movement, including pedestrian, gestural and contact work. There is use of women lifting women, women lifting men and visa versa so traditional gender roles associated to romantic stories have not constricted her ability to communicate through the broadest vocabulary of movement. ...read more.

Conclusion

The obstacles are overcome by the dancer through a variety of rolls, jumps and athletic styles of movement. This athletic content may stem from Murphy's previous passion for sport or his commitment to the teachings of new dance from the Laban Centre which he attended in 1989. The piece clearly focuses of technical movement, developed through contact improvisation, exaggeration of pedestrian movement over obstacles and most importantly of course the use of technology in expressing the dance movement. The use of old styles in new work does not detract from the validity of the creative process adopted by the choreographers. The styles are all individual, and explorative. The re-introduction of old methods shows the willingness of new choreographers to develop styles without constriction to one style or another, indeed one of the initial desires for contemporary dance, which aimed to break traditional moulds, was to broaden definition of dance. Therefore by using the entire range of movement techniques available must be in the end a positive regression rather than a step back in ideology. ...read more.

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