cg09

	Another/dt element/nn to/to concern/vb the/at choreographer/nn is/bez that/dt of/in the/at visual/jj devices/nns of/in the/at theatre/nn ./.
Most/ap avant-garde/nn creators/nns ,/, true/jj to/in their/pp$ interest/nn in/in the/at self-sufficiency/nn of/in pure/jj movement/nn ,/, have/hv tended/vbn to/to dress/vb their/pp$ dancers/nns in/in simple/jj lines/nns and/cc solid/jj colors/nns (/( often/rb black/nn )/) and/cc to/to give/vb them/ppo a/at bare/jj cyclorama/nn for/in a/at setting/nn ./.
But/cc Robert/np Rauschenberg/np ,/, the/at neo-dadaist/nn artist/nn ,/, has/hvz collaborated/vbn with/in several/ap of/in them/ppo ./.
He/pps has/hvz designed/vbn a/at matching/vbg backdrop/nn and/cc costumes/nns of/in points/nns of/in color/nn on/in white/jj for/in Mr./np Cunningham's/np$ Summerspace/np ,/, so/cs that/cs dancers/nns and/cc background/nn merge/vb into/in a/at shimmering/vbg unity/nn ./.
For/cs Mr./np Taylor's/np$ Images/nns-tl And/cc-tl Reflections/nns-tl she/pps made/vbd some/dti diaphanous/jj tents/nns that/wps alternately/rb hide/vb and/cc reveal/vb the/at performer/nn ,/, and/cc a/at girl's/nn$ cape/nn lined/vbn with/in grass/nn ./.
Mr./np Nikolais/np has/hvz made/vbn a/at distinctive/jj contribution/nn to/in the/at arts/nns of/in costume/nn and/cc decor/nn ./.
In/in fact/nn ,/, he/pps calls/vbz his/pp$ productions/nns dance-theatre/nn works/nns of/in motion/nn ,/, shape/nn ,/, light/nn ,/, and/cc sound/nn ./.
To/to raise/vb the/at dancer/nn out/in of/in his/pp$ personal/jj ,/, pedestrian/jj self/nn ,/, Mr./np Nikolais/np has/hvz experimented/vbn with/in relating/vbg him/ppo to/in a/at larger/jjr ,/, environmental/jj orbit/nn ./.
He/pps began/vbd with/in masks/nns to/to make/vb the/at dancer/nn identify/vb himself/ppl with/in the/at creature/nn he/pps appeared/vbd to/to be/be ./.
He/pps went/vbd on/rp to/to use/vb objects/nns --/-- hoops/nns ,/, poles/nns ,/, capes/nns --/-- which/wdt he/pps employed/vbd as/cs extensions/nns of/in the/at body/nn of/in the/at dancer/nn ,/, who/wps moved/vbd with/in them/ppo ./.
The/at depersonalization/nn continued/vbd as/cs the/at dancer/nn was/bedz further/rbr metamorphosed/vbn by/in the/at play/nn of/in lights/nns upon/in his/pp$ figure/nn ./.
In/in each/dt case/nn ,/, the/at object/nn ,/, the/at color/nn ,/, even/rb the/at percussive/jj sounds/nns of/in the/at electronic/jj score/nn were/bed designed/vbn to/to become/vb part/nn of/in the/at theatrical/jj being/beg of/in the/at performer/nn ./.
The/at dancer/nn who/wps never/rb loosens/vbz her/pp$ hold/nn on/in a/at parasol/nn ,/, begins/vbz to/to feel/vb that/cs it/pps is/bez part/nn of/in herself/ppl ./.
Or/cc ,/, clad/vbn from/in head/nn to/in toe/nn in/in fabric/nn stretched/vbn over/in a/at series/nn of/in hoops/nns ,/, the/at performer/nn may/md well/rb lose/vb his/pp$ sense/nn of/in self/nn in/in being/beg a/at ``/`` finial/nn ''/'' ./.
As/cs the/at dancer/nn is/bez depersonalized/vbn ,/, his/pp$ accouterments/nns are/ber animized/vbn ,/, and/cc the/at combined/vbn elements/nns give/vb birth/nn to/in a/at new/jj being/nn ./.
From/in this/dt being/nn come/vb new/jj movement/nn ideas/nns that/wps utilize/vb dancer/nn and/cc property/nn as/cs a/at single/ap unit/nn ./.


	Thus/rb ,/, the/at avant-garde/nn choreographers/nns have/hv extended/vbn the/at scope/nn of/in materials/nns available/jj for/in dance/nn composition/nn ./.
But/cc ,/, since/cs they/ppss have/hv rejected/vbn both/abx narrative/jj and/cc emotional/jj continuity/nn ,/, how/wrb are/ber they/ppss to/to unify/vb the/at impressive/jj array/nn of/in materials/nns at/in their/pp$ disposal/nn ?/. ?/.
Some/dti look/vb deliberately/rb to/in devices/nns used/vbn by/in creators/nns in/in the/at other/ap arts/nns and/cc apply/vb corresponding/jj methods/nns to/in their/pp$ own/jj work/nn ./.
Others/nns ,/, less/ql consciously/rb but/cc quite/ql probably/rb influenced/vbn by/in the/at trends/nns of/in the/at times/nns ,/, experiment/vb with/in approaches/nns that/wps parallel/vb those/dts of/in the/at contemporary/jj poet/nn ,/, painter/nn ,/, and/cc musician/nn ./.


	An/at approach/nn that/wps has/hvz appealed/vbn to/in some/dti choreographers/nns is/bez reminiscent/jj of/in Charles/np Olson's/np$ statement/nn of/in the/at process/nn of/in projective/jj verse/nn :/: ``/`` one/cd perception/nn must/md immediately/rb and/cc directly/rb lead/vb to/in a/at further/jjr perception/nn ''/'' ./.
The/at creator/nn trusts/vbz his/pp$ intuition/nn to/to lead/vb him/ppo along/in a/at path/nn that/wps has/hvz internal/jj validity/nn because/cs it/pps mirrors/vbz the/at reality/nn of/in his/pp$ experience/nn ./.
He/pps disdains/vbz external/jj restrictions/nns --/-- conventional/jj syntax/nn ,/, traditional/jj metre/nn ./.
The/at unit/nn of/in form/nn is/bez determined/vbn subjectively/rb :/: ``/`` the/at Heart/nn-tl ,/, by/in the/at way/nn of/in the/at Breath/nn-tl ,/, to/in the/at Line/nn-tl ''/'' ./.
The/at test/nn of/in form/nn is/bez fidelity/nn to/in the/at experience/nn ,/, a/at gauge/nn also/rb accepted/vbn by/in the/at abstract/jj expressionist/nn painters/nns ./.


	An/at earlier/jjr but/cc still/rb influential/jj school/nn of/in painting/vbg ,/, surrealism/nn ,/, had/hvd suggested/vbn the/at way/nn of/in dealing/vbg with/in the/at dream/nn experience/nn ,/, that/dt event/nn in/in which/wdt seemingly/ql incongruous/jj objects/nns are/ber linked/vbn together/rb through/in the/at curious/jj associations/nns of/in the/at subconscious/nn ./.
The/at resulting/vbg picture/nn might/md appear/vb a/at maze/nn of/in restless/jj confusions/nns and/cc contradictions/nns ,/, but/cc it/pps is/bez more/ql true/jj to/in life/nn than/cs a/at portrait/nn of/in an/at artificially/rb contrived/vbn order/nn ./.
The/at contemporary/jj painter/nn tends/vbz to/to depict/vb not/* the/at concrete/jj objects/nns of/in his/pp$ experience/nn but/cc their/pp$ essences/nns as/cs revealed/vbn in/in abstractions/nns of/in their/pp$ lines/nns ,/, colors/nns ,/, masses/nns ,/, and/cc energies/nns ./.
He/pps is/bez still/rb concerned/vbn ,/, however/rb ,/, with/in a/at personal/jj event/nn ./.
He/pps accepts/vbz the/at accidents/nns of/in his/pp$ brushwork/nn because/cs they/ppss provide/vb evidence/nn of/in the/at vitality/nn of/in the/at experience/nn of/in creation/nn ./.
The/at work/nn must/md be/be true/jj to/in both/abx the/at physical/jj and/cc the/at spiritual/jj character/nn of/in the/at experience/nn ./.


	Some/dti painters/nns have/hv less/ap interest/nn in/in the/at experience/nn of/in the/at moment/nn ,/, with/in its/pp$ attendant/jj urgencies/nns and/cc ambiguities/nns ,/, than/cs in/in looking/vbg beyond/in the/at flux/nn of/in particular/jj impressions/nns to/in a/at higher/jjr ,/, more/ql serene/jj level/nn of/in truth/nn ./.
Rather/in than/in putting/vbg their/pp$ trust/nn in/in ephemeral/jj sensations/nns they/ppss seek/vb form/nn in/in the/at stable/jj relationships/nns of/in pure/jj design/nn ,/, which/wdt symbolize/vb an/at order/nn more/ql real/jj than/cs the/at disorder/nn of/in the/at perceptual/jj world/nn ./.
The/at concept/nn remains/vbz subjective/jj ./.
But/cc in/in this/dt approach/nn it/pps is/bez the/at artist's/nn$ ultimate/jj insight/nn ,/, rather/in than/in his/pp$ immediate/jj impressions/nns ,/, that/wps gives/vbz form/nn to/in the/at work/nn ./.


	Others/nns look/vb to/in more/ql objective/jj devices/nns of/in order/nn ./.
The/at musician/nn employing/vbg the/at serial/jj technique/nn of/in composition/nn establishes/vbz a/at mathematical/jj system/nn of/in rotations/nns that/wps ,/, once/cs set/vbn in/in motion/nn ,/, determines/vbz the/at sequence/nn of/in pitches/nns and/cc even/rb of/in rhythms/nns and/cc intensities/nns ./.
The/at composer/nn may/md reverse/vb or/cc invert/vb the/at order/nn of/in his/pp$ original/jj set/nn of/in intervals/nns (/( or/cc rhythms/nns or/cc dynamic/jj changes/nns )/) ./.
He/pps may/md even/rb alter/vb the/at pattern/nn by/in applying/vbg a/at scheme/nn of/in random/jj numbers/nns ./.
But/cc he/pps cannot/md* order/vb his/pp$ elements/nns by/in will/nn ,/, either/cc rational/jj or/cc inspired/vbn ./.
The/at system/nn works/vbz as/cs an/at impersonal/jj mechanism/nn ./.
Musicians/nns who/wps use/vb the/at chance/nn method/nn also/rb exclude/vb subjective/jj control/nn of/in formal/jj development/nn ./.
Again/rb ,/, the/at composer/nn must/md select/vb his/pp$ own/jj materials/nns ./.
But/cc a/at tossing/nn of/in coins/nns ,/, with/in perhaps/rb the/at added/vbn safeguard/nn of/in reference/nn to/in the/at oracles/nns of/in the/at I/np Ching/np ,/, the/at Chinese/jj Book/nn-tl Of/in-tl Changes/nns-tl ,/, dictates/vbz the/at handling/nn of/in the/at chosen/vbn materials/nns ./.


	Avant-garde/nn choreographers/nns ,/, seeking/vbg new/jj forms/nns of/in continuity/nn for/in their/pp$ new/jj vocabulary/nn of/in movements/nns ,/, have/hv turned/vbn to/in similar/jj approaches/nns ./.
Some/dti let/vb dances/nns take/vb their/pp$ form/nn from/in the/at experience/nn of/in creation/nn ./.
According/in to/in Katherine/np Litz/np ,/, ``/`` the/at becoming/nn ,/, the/at process/nn of/in realization/nn ,/, is/bez the/at dance/nn ''/'' ./.
The/at process/nn stipulates/vbz that/cs the/at choreographer/nn sense/vb the/at quality/nn of/in the/at initial/jj movement/nn he/pps has/hvz discovered/vbn and/cc that/cs he/pps feel/vb the/at rightness/nn of/in the/at quality/nn that/wps is/bez to/to follow/vb it/ppo ./.
The/at sequence/nn may/md involve/vb a/at sharp/jj contrast/nn :/: for/in example/nn ,/, a/at quiet/jj meditative/jj sway/nn of/in the/at body/nn succeeded/vbn by/in a/at violent/jj leap/nn ;/. ;/.
or/cc it/pps may/md involve/vb more/ql subtle/jj distinctions/nns :/: the/at sway/nn may/md be/be gradually/rb minimized/vbn or/cc enlarged/vbn ,/, its/pp$ rhythmic/jj emphasis/nn may/md be/be slightly/rb modified/vbn ,/, or/cc it/pps may/md be/be transferred/vbn to/to become/vb a/at movement/nn of/in only/rb the/at arms/nns or/cc the/at head/nn ./.
Even/rb the/at least/ap alteration/nn will/md change/vb the/at quality/nn ./.
An/at exploration/nn of/in these/dts possible/jj relationships/nns constitutes/vbz the/at process/nn of/in creation/nn and/cc thereby/rb gives/vbz form/nn to/in the/at dance/nn ./.


	The/at approach/nn to/in the/at depiction/nn of/in the/at experience/nn of/in creation/nn may/md be/be analytic/jj ,/, as/cs it/pps is/bez for/in Miss/np Litz/np ,/, or/cc spontaneous/jj ,/, as/cs it/pps is/bez for/in Merle/np Marsicano/np ./.
She/pps ,/, too/rb ,/, is/bez concerned/vbn with/in ``/`` the/at becoming/nn ,/, the/at process/nn of/in realization/nn ''/'' ,/, but/cc she/pps does/doz not/* think/vb in/in terms/nns of/in subtle/jj variations/nns of/in spatial/jj or/cc temporal/jj patterns/nns ./.
The/at design/nn is/bez determined/vbn emotionally/rb :/: ``/`` I/ppss must/md reach/vb into/in myself/ppl for/in the/at spring/nn that/wps will/md send/vb me/ppo catapulting/vbg recklessly/rb into/in the/at chaos/nn of/in event/nn with/in which/wdt the/at dance/nn confronts/vbz me/ppo ''/'' ./.
Looking/vbg back/rb ,/, Miss/np Marsicano/np feels/vbz that/cs her/pp$ ideas/nns may/md have/hv been/ben influenced/vbn by/in those/dts of/in Jackson/np Pollock/np ./.
At/in one/cd time/nn she/pps felt/vbd impelled/vbn to/to make/vb dances/nns that/wps ``/`` moved/vbd all/ql over/in the/at stage/nn ''/'' ,/, much/rb as/cs Pollock's/np$ paintings/nns move/vb violently/rb over/in the/at full/jj extent/nn of/in the/at canvas/nn ./.
But/cc her/pp$ conscious/jj need/nn was/bedz to/to break/vb away/rb from/in constricting/vbg patterns/nns of/in form/nn ,/, a/at need/nn to/to let/vb the/at experience/nn shape/vb itself/ppl ./.


	Midi/np Garth/np also/rb believes/vbz in/in subjective/jj continuity/nn that/wps begins/vbz with/in the/at feeling/nn engendered/vbn by/in an/at initial/jj movement/nn ./.
It/pps may/md be/be a/at free/jj front-back/jj swing/nn of/in the/at leg/nn ,/, leading/vbg to/in a/at sideways/jj swing/nn of/in the/at arm/nn that/wps develops/vbz into/in a/at turn/nn and/cc the/at sensation/nn of/in taking/vbg off/rp from/in the/at ground/nn ./.
This/dt became/vbd a/at dance/nn called/vbn Prelude/nn-tl To/in-tl Flight/nn-tl ./.
A/at pervading/vbg quality/nn of/in free/jj lyricism/nn and/cc a/at building/nn from/in turns/nns close/rb to/in the/at ground/nn towards/in jumps/nns into/in the/at air/nn gives/vbz the/at work/nn its/pp$ central/jj focus/nn ./.


	Alwin/np Nikolais/np objects/vbz to/in art/nn as/cs an/at outpouring/nn of/in personal/jj emotion/nn ./.
He/pps seeks/vbz to/to make/vb his/pp$ dancers/nns more/ql ``/`` godlike/jj ''/'' by/in relating/vbg them/ppo to/in the/at impersonal/jj elements/nns of/in shape/nn ,/, light/nn ,/, color/nn ,/, and/cc sound/nn ./.
If/cs his/pp$ dancers/nns are/ber sometimes/rb made/vbn to/to look/vb as/cs if/cs they/ppss might/md be/be creatures/nns from/in Mars/np ,/, this/dt is/bez consistent/jj with/in his/pp$ intention/nn of/in placing/vbg them/ppo in/in the/at orbit/nn of/in another/dt world/nn ,/, a/at world/nn in/in which/wdt they/ppss are/ber freed/vbn of/in their/pp$ pedestrian/jj identities/nns ./.
It/pps is/bez through/in the/at metamorphosed/vbn dancer/nn that/cs the/at germ/nn of/in form/nn is/bez discovered/vbn ./.
In/in his/pp$ recognition/nn of/in his/pp$ impersonal/jj self/nn the/at dancer/nn moves/vbz ,/, and/cc this/dt self/nn ,/, in/in the/at ``/`` first/od revealed/vbn stroke/nn of/in its/pp$ existence/nn ''/'' ,/, states/vbz the/at theme/nn from/in which/wdt all/abn else/rb must/md follow/vb ./.
The/at theme/nn may/md be/be the/at formation/nn of/in a/at shape/nn from/in which/wdt other/ap shapes/nns evolve/vb ./.
It/pps may/md be/be a/at reaction/nn to/in a/at percussive/jj sound/nn ,/, the/at following/vbg movements/nns constituting/vbg further/jjr reactions/nns ./.
It/pps may/md establish/vb the/at relation/nn of/in the/at figure/nn of/in the/at dancer/nn to/in light/nn and/cc color/nn ,/, in/in which/wdt case/nn changes/nns in/in the/at light/nn or/cc color/nn will/md set/vb off/rp a/at kaleidescope/nn of/in visual/jj designs/nns ./.
Unconcerned/jj with/in the/at practical/jj function/nn of/in his/pp$ actions/nns ,/, the/at dancer/nn is/bez engrossed/vbn exclusively/rb in/in their/pp$ ``/`` motional/jj content/nn ''/'' ./.
Movements/nns unfold/vb freely/rb because/cs they/ppss are/ber uninhibited/jj by/in emotional/jj bias/nn or/cc purposive/jj drive/nn ./.
But/cc the/at metamorphosis/nn must/md come/vb first/rb ./.


	Though/cs he/pps is/bez also/rb concerned/vbn with/in freeing/vbg dance/nn from/in pedestrian/jj modes/nns of/in activity/nn ,/, Merce/np Cunningham/np has/hvz selected/vbn a/at very/ql different/jj method/nn for/in achieving/vbg his/pp$ aim/nn ./.
He/pps rejects/vbz all/abn subjectively/rb motivated/vbn continuity/nn ,/, any/dti line/nn of/in action/nn related/vbn to/in the/at concept/nn of/in cause/nn and/cc effect/nn ./.
He/pps bases/vbz his/pp$ approach/nn on/in the/at belief/nn that/cs anything/pn can/md follow/vb anything/pn ./.
An/at order/nn can/md be/be chanced/vbn rather/in than/in chosen/vbn ,/, and/cc this/dt approach/nn produces/vbz an/at experience/nn that/wps is/bez ``/`` free/jj and/cc discovered/vbn rather/in than/in bound/vbn and/cc remembered/vbn ''/'' ./.
Thus/rb ,/, there/ex is/bez freshness/nn not/* only/rb in/in the/at individual/jj movements/nns of/in the/at dance/nn but/cc in/in the/at shape/nn of/in their/pp$ continuity/nn as/ql well/rb ./.
Chance/nn ,/, he/pps finds/vbz ,/, enables/vbz him/ppo to/to create/vb ``/`` a/at world/nn beyond/in imagination/nn ''/'' ./.
He/pps cites/vbz with/in pleasure/nn the/at comment/nn of/in a/at lady/nn ,/, who/wps exclaimed/vbd after/in a/at concert/nn :/: ``/`` Why/uh ,/, it's/pps+bez extremely/ql interesting/jj ./.
But/cc I/ppss would/md never/rb have/hv thought/vbn of/in it/ppo myself/ppl ''/'' ./.


	The/at sequence/nn of/in movements/nns in/in a/at Cunningham/np dance/nn is/bez unlike/in any/dti sequence/nn to/to be/be seen/vbn in/in life/nn ./.
At/in one/cd side/nn of/in the/at stage/nn a/at dancer/nn jumps/vbz excitedly/rb ;/. ;/.
nearby/rb ,/, another/dt sits/vbz motionless/jj ,/, while/cs still/rb another/dt is/bez twirling/vbg an/at umbrella/nn ./.
A/at man/nn and/cc a/at girl/nn happen/vb to/to meet/vb ;/. ;/.
they/ppss look/vb straight/rb at/in the/at audience/nn ,/, not/* at/in each/dt other/ap ./.
He/pps lifts/vbz her/ppo ,/, puts/vbz her/ppo down/rp ,/, and/cc walks/vbz off/rp ,/, neither/cc pleased/vbn nor/cc disturbed/vbn ,/, as/cs if/cs nothing/pn had/hvd happened/vbn ./.
If/cs one/cd dancer/nn slaps/vbz another/dt ,/, the/at victim/nn may/md do/do a/at pirouette/nn ,/, sit/vb down/rp ,/, or/cc offer/vb his/pp$ assailant/nn a/at fork/nn and/cc spoon/nn ./.
Events/nns occur/vb without/in apparent/jj reason/nn ./.
Their/pp$ consequences/nns are/ber irrelevant/jj --/-- or/cc there/ex are/ber no/at consequences/nns at/in all/abn ./.


	The/at sequence/nn is/bez determined/vbn by/in chance/nn ,/, and/cc Mr./np Cunningham/np makes/vbz use/nn of/in any/dti one/cd of/in several/ap chance/nn devices/nns ./.
He/pps may/md toss/vb coins/nns ;/. ;/.
he/pps may/md take/vb slips/nns of/in paper/nn from/in a/at grab/nn bag/nn ./.
The/at answers/nns derived/vbn by/in these/dts means/nns may/md determine/vb not/* only/rb the/at temporal/jj organization/nn of/in the/at dance/nn but/cc also/rb its/pp$ spatial/jj design/nn ,/, special/jj slips/nns designating/vbg the/at location/nn on/in the/at stage/nn where/wrb the/at movement/nn is/bez to/to be/be performed/vbn ./.
The/at other/ap variables/nns include/vb the/at dancer/nn who/wps is/bez to/to perform/vb the/at movement/nn and/cc the/at length/nn of/in time/nn he/pps is/bez to/to take/vb in/in its/pp$ performance/nn ./.
The/at only/ap factors/nns that/wps are/ber personally/rb set/vbn by/in the/at choreographer/nn are/ber the/at movements/nns themselves/ppls ,/, the/at number/nn of/in the/at dancers/nns ,/, and/cc the/at approximate/jj total/nn duration/nn of/in the/at dance/nn ./.
The/at ``/`` approximate/jj-nc ''/'' is/bez important/jj ,/, because/cs even/rb after/cs the/at order/nn of/in the/at work/nn has/hvz been/ben established/vbn by/in the/at chance/nn method/nn ,/, the/at result/nn is/bez not/* inviolable/jj ./.
Each/dt performance/nn may/md be/be different/jj ./.
If/cs a/at work/nn is/bez divided/vbn into/in several/ap large/jj segments/nns ,/, a/at last-minute/nn drawing/nn of/in random/jj numbers/nns may/md determine/vb the/at order/nn of/in the/at segments/nns for/in any/dti particular/jj performance/nn ./.
And/cc any/dti sequence/nn can/md not/* only/rb change/vb its/pp$ positions/nns in/in the/at work/nn but/cc can/md even/rb be/be eliminated/vbn from/in it/ppo altogether/rb ./.


	Mr./np Cunningham/np tries/vbz not/* to/to cheat/vb the/at chance/nn method/nn ;/. ;/.
he/pps adheres/vbz to/in its/pp$ dictates/nns as/ql faithfully/rb as/cs he/pps can/md ./.
However/rb ,/, there/ex is/bez always/rb the/at possibility/nn that/cs chance/nn will/md make/vb demands/nns the/at dancers/nns find/vb impossible/jj to/to execute/vb ./.
Then/rb the/at choreographer/nn must/md arbitrate/vb ./.
He/pps must/md rearrange/vb matters/nns so/cs that/cs two/cd performers/nns do/do not/* bump/vb into/in each/dt other/ap ./.
He/pps must/md construct/vb transitions/nns so/cs that/cs a/at dancer/nn who/wps is/bez told/vbn to/to lie/vb prone/rb one/cd second/nn and/cc to/to leap/vb wildly/rb the/at next/ap will/md have/hv some/dti physical/jj preparation/nn for/in the/at leap/nn ./.