Approaches to Collaboration panel: Choreographers and Visual Artists
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NANCY GARCIA |
The roundtable discussion, “Approaches to Collaboration: Choreographers and Visual Artists,” took place on Saturday, September 8th at The Philoctetes Center for the Multidisciplinary Study of Imagination at the New York Psychoanalytic Institute, on the upper east side. Collaborative models for performance were discussed.
Complete description of event and panelist bios: http://www.philoctetes.org/Event_Archive/Approaches_to_Collaboration_Choreographers_and_Visual_Artists
Following are my notes from the panel, as discussed by Noel Carroll, Roger Copeland, Mary Fleischer, Lynn Garafola, and Yvonne Rainer.
Ballet Russes’ collaborative model exemplified the Wagnerian idea of Gesamtkunswerk, or “total work of art,” via a synthesis of poetry, scenic design, staging, action, and music.
The ballet Parade was cited as a very early example of artistic collaboration, composed for Serge Diaghilev’s Ballets Russes 1916-1917. Choreography by Léonide Massine (who was also dancing), music by Erik Satie, a one-act scenario by Jean Cocteau, costumes and sets designed by Pablo Picasso, and the orchestra conducted by Ernest Ansermet. Painter Henri Matisse also did sets and costumes for another of Ballet Russes Le Chant du Rossignol 1920 (or The Song of the Nightingale).
Parade Wikipedia entry: http://en.wikipedia.org/wiki/Parade_
Apparently, George Balanchine (one of the founders of New York City Ballet), was not so interested in visual aspects such as costuming and sets, but he was interested in lighting. Another choreographer who was very involved with lighting was Louie Fuller. She is considered a pioneer of both modern dance and theatrical lighting techniques.
Info about Louie Fuller: http://www.nytimes.com/books/first/c/current-loie.html
There was a good time spent on the Cage/Cunningham collaborative model. Both artists were in favor of “disillusion,” but for different reasons.
While Cunningham is a defender of the autonomy of the art form (in his case it would be dance), Cage is more of an integrationist, a descendant of Marcel Duchamp’s ideas who also wanted to dissolve the distance between art and life. Where Cage and Cunningham agree is on strategy: the use of aleatoric methods.
Yvonne Rainer called this collaborative model “mechanical,” where there is no apparent conversation between the collaborators. She cites a piece by choreographer John Jasperse, whose name she didn’t say but because of her description I suspect she meant California, as a good example of the integration of the stage elements (that set was designed by Ammar Eloueini).
Info about John Jasperse’s California: http://www.johnjasperse.org/index.php?name=rep8 Image of Set Design by Ammar Eloueini: http://www.digit-all.net
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