You can’t do that in live theater.Well, it’s all quotation now. Hence the long monologs about race and the subjectivity of an oppressed black subject. Now it’s usually done in silence. Yvonne Rainer is a dancer, choreographer, and filmmaker who has been recognized as one of the leading conceptual artists of the past fifty years.
I was also getting kind of fed up with raising money. One of the first things Steve Paxton, a colleague choreographer, said to me was, “You can’t predict what is going to happen next.” So it didn’t come out of a sense of organic continuity that much modern dance had, as seen in the rediscovery of Doris Humphrey and the various techniques that had animated previous modern dance. In March 1965 the choreographer and filmmaker Yvonne Rainer went to the Wadsworth Atheneum in Hartford, Connecticut, to premiere what she described as “a dance for ten people and twelve mattresses.”
Yvonne Rainer (left) performing ‘Corridor Solo’ and ‘Crawling Through’ from Parts of Some Sextets at the Wadsworth Athenaeum, Hartford, Connecticut, 1965. I hadn’t choreographed for twenty-five years, but with the help of a dancer who continues to work with me, Pat Catterson, who had studied with me in the late 1960s and was still going strong, I went back to my notebooks and I pulled together a half-hour work for him.At the time, I began to question my own enjoyment and what I term a kind of narcissism and pleasure in being looked at as a performer. I had gotten a lot of big grants—each film cost twice as much as the previous one. I had been exposed to European art films and the New American Cinema, structuralist cinema, and I just saw film as offering greater possibilities for my interests.
One of the things that drew me to film was framing the possibilities for a very exact framing of the body.It refers to something that actually happened to me: I lived in an all-white building on a Puerto Rican block in Manhattan and the guy from next door climbed through my downstairs neighbor’s window. There is also a reference to the fact that this was before hormone replacement therapy was discredited as not being the best thing a woman could do and, of course, there was an earlier generation of doctors who were pushing it on women.It came out of my own development and therapy. Mubarak It kind of grows out of traffic. Then you see them in bed. It’s a mix-up, going against the grain of conventions. For example, you seem to split personalities and also double them. Interview conducted by Liza Béar and Willoughby Sharp on Aug. 10, 1972 at 137 Greene Street. For ten years I’d made dances, and the kind of dancing I did, I began to feel had limitations. She wants to tell Yvonne about an incident that happened when she was a young dancer in New York.Yvonne Rainer, 1964. It’s a very powerful moment.
Ordinary Dance first performed at Judson Church, NY, July 1962. The 50th anniversary of the first Judson Concert of Dance has been celebrated throughout 2012 at a number of venues, with many of the original Judson participants revisiting the past or making new works.RAINER: Hmm . The only repetition in the piece is the walking, which is an element employed to connect things. I had to face that on some extent. Sean O'Hagan. I was a witness and I was called in by the DA [District Attorney]. Interview with Yvonne Rainer TWO DAYS BEFORE WE WERE SCHEDULED TO MEET, Yvonne Rainer walked into the gallery I was looking after for a friend and caught me leafing through her autobiography. After the trial was over I had an affair, a very short affair, with this DA. Performer.KELSEY: But what was that creative switch for you? I’m interested in how things don’t work, putting things together that don’t fit “– Yvonne Rainer.
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