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Countries=France Ashley Chen Creator=Alla Kovgan genres=Documentary Director=Alla Kovgan. Him: “Its green day.” =video cuts to Boulevard of Broken Dreams by Green Day= Me: subscribes immediately. Brilliant! What a find. September 8, 2019 6:08AM PT This sensational 3D doc celebrates American dancer and choreographer Merce Cunninghams work by reenacting a number of his iconic dances. Good nonfiction storytelling requires artistry beyond talking heads and archives, though creative vision sometimes feels purposely concealed or standardized in documentaries to prioritize substance over style. But heres a dance documentary that splendidly flaunts its artistic point of view, and fittingly so. Moscow-born filmmaker Alla Kovgan s feature debut “Cunningham” is what an artform celebrating the very nature and a practitioner of another artform should look and feel like. This is a good time to remember that nonfiction films can be theatrical experiences that demand to be seen on the largest screen possible. Shot in glorious 3D that makes the technical mode feel indispensable (like in Wim Wenders comparable dance documentary “Pina, ” sure, but also Ang Lees “Life of Pi” and even James Camerons “Avatar”) Kovgans ode to choreography master Merce Cunningham is sensational in every sense of the word. Renewing ones appreciation of the many wonders of the human body and the space in which it fills and drifts, “Cunningham” celebrates all the things our joints and flexed muscles are capable of, as seen through the mind and poetic dances of an iconic creator. The artist Kovgan celebrates throughout the vivid frames and staging of her film had been a groundbreaking pioneer of American modern dance for over five decades. You dont really have to know anything about dance or choreography to appreciate the arresting depth of field or the inventive multi-dimensional art direction in “Cunningham” — although I bet those who know the icons work inside and out will connect with Kovgans effort at a deeper level. Thats because the filmmakers imagery loyally follows in Cunninghams footsteps and reenacts the ideas of an artist who thought of dance as a visual experience. “We dont interpret something. We present something. The interpretation is left up to the audience” was Cunninghams motto. Internalizing this, Kovgan leans heavily on presentation and leaves the processing of things up to the viewers. In that, “Cunningham” comes with a sense of freedom, maybe even a prescription to allow your imagination to run wild. With kinetic energy, “Cunningham” picks and chooses from the artists influential body of work between 1942-72 (the first 30 years of his career) and restages excerpts from 14 select dances alongside Robert Swinston and Jennifer Goggans, two fixtures of Cunninghams dance company. We switch from outdoors to indoors — there are rooftops, a tunnel, a garden and studio spaces that feel either like an explosion of colors or minimally designed, lacquered jewel boxes. A standalone camera guides our immersion in the material and at times, approaches something akin to virtual reality, with 3D making the viewer feel like a part of the action. The crown jewels of the dances depicted are the vibrant “Summerspace” (1958) and the hypnotic “RainForest, ” (1968) with Andy Warhols sleek, hovering silver pillows. And then there are scrapbook-type artifacts to complete the adornment of the package: photographs, letters as well as various pieces of footage captured during tours or rehearsals. With a sharp sense of composition and assured handle on the relationship between foreground and background, Kovgan embellishes the depths of the screen with such material, challenging the viewers eyes to survey the entire screen to appreciate all the layers of this visually atypical collage of archival material. There is both intimacy and vastness in “Cunningham, ” along with utmost choreographic discipline, lightened by the dancers weightless muscle memory. In collaboration with her cinematographer Mko Malkhasyan, Kovgan navigates this complex arrangement of ideas, moves and objects swiftly, occasionally enriching them with voices of Cunningham himself, as well as various longtime friends and collaborators like artists Warhol and Robert Rauschenberg, composer John Cage and some members of his dance troupe. We also get treated to memories of the troupes early days, when they toured across the U. S. in a minibus without sufficient resources. Refusing the avant-garde label until he passed away in 2009 at the age of 90 (he was still working then) Cunningham once said, “Inside the body is ecstasy waiting to be released. When it happens to a dancer, he smiles without knowing it. ” He might as well be talking about the experience of watching Kovgans documentary here; a piece of filmmaking so euphoric in its purpose that you could almost imagine it making Cunningham beam. Sixty years. Thats how long a Louisiana judge sentenced Rob Richardson to serve for armed bank robbery. Garrett Bradley covers more than a third of that term in “Time, ” and the cumulative impact — boiled down into an open-minded and deeply empathetic 81 minutes — will almost certainly rewire how Americans think about the prison-industrial. There was no better way to kick off the romantic month of February than with the premiere of “To All The Boys: P. 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Sweet looking car. I've heard of the Cunningham C3, and I've seen pictures of the car, but I've never seen one in person. From Wikipedia, the free encyclopedia Jump to navigation Jump to search Cunningham is a surname of Scottish origin, see Clan Cunningham. Notable people sharing this surname [ edit] A–C [ edit] Aaron Cunningham (born 1986) American baseball player Abe Cunningham, American drummer Alan Cunningham, British Second World War general Alexander Cunningham (1814–1893) British archaeologist, father of the Archaeological Survey of India Alexander Cunningham, 1st Earl of Glencairn (1426–1488) a Scottish nobleman Alexander Cunningham, 5th Earl of Glencairn (died 1574) a Scottish nobleman and covenanter Alfred Austell Cunningham, aviation pioneer Allan Cunningham (disambiguation) or Allen Cunningham, several people Andrew Cunningham, 1st Viscount Cunningham of Hyndhope, British Second World War admiral Andrew Cunningham (disambiguation) or Andy Cunningham, several people Archibald Cunningham (1879–1915) Scottish footballer Bertram Cunningham, British Anglican priest and academic Bill Cunningham (disambiguation) several people Bill Cunningham (talk show host) American radio talk show host Billy Cunningham, American basketball player and coach Birgit Cunningham, Anglo-American activist Bob Cunningham (disambiguation) several people Briggs Cunningham, American racing driver and team owner, sports car designer and manufacturer Brysson Cunningham, Scottish harbour engineer and author on dock and harbour engineering and operation Cal Cunningham (born 1973) Democratic state senator in North Carolina Charles Cunningham (disambiguation) several people, including: Charles Cunningham, Royal Navy admiral Charles Milton Cunningham, American newspaper editor and politician Chris Cunningham, British director and video artist Clare Cunningham (athlete) British athlete Claire Cunningham, British choreographer Colin Cunningham (swimmer) British swimmer D–J [ edit] Daniel John Cunningham, Scottish anatomist Darryl Cunningham, English cartoonist David Cunningham (disambiguation) several people David Loren Cunningham, film producer Dominick Cunningham (born 1995) British artistic gymnast Ebenezer Cunningham, British mathematician Edward Francis Cunningham, Scottish painter Edwin Cunningham (disambiguation) several people Elaine Cunningham, American fantasy and science-fiction author Elmer T. Cunningham, American entrepreneur and businessman, specializing in vacuum tubes and radio manufacturing E. V. Cunningham, pseudonym of Howard Fast, an American writer Francis Cunningham (painter) Gary Cunningham (born 1940/1941) American basketball coach and athletic director Gina Cunningham (born 1955) American multidisciplinary artist Glenn Cunningham (disambiguation) several people Graeme Cunningham (cricketer) Australian Cricketer Graeme Cunningham (Scottish footballer) Scottish footballer Hugh Cunningham, former British Army officer Imogen Cunningham (1883–1976) American photographer J. Cunningham, American poet Jack Cunningham, Baron Cunningham of Felling (born 1939) British politician James Cunningham (disambiguation) several people, including: James Cunningham (director) New Zealand film director James Cunningham, 7th Earl of Glencairn, Scottish peer and member of the Privy Council of Scotland James Cunningham, 14th Earl of Glencairn, Scottish nobleman James Cunningham (Canadian politician) 1834–1925) former member of the Canadian House of Commons from British Columbia James B. Cunningham, American diplomat, formerly the acting US ambassador to the UN James Cunningham (Australian politician) Australian politician and President of the Senate Jason D. Cunningham, US Air Force pararescue medic Jason Cunningham, English boxer Jean Wooden Cunningham, American politician and lawyer Jeff Cunningham, American association football player Jim Cunningham (politician) born 1941) Labour MP in the United Kingdom Jim Cunningham (ice hockey) born 1956) ice hockey player in the National Hockey League Jim Cunningham (American football) former NFL running back for the Washington Redskins Jimmy Cunningham, former return specialist and wide receiver in the Canadian Football League and the XFL John Cunningham (officer) Anglo-Irish soldier of the 17th century John Cunningham (VC 1916) East Yorkshire Regiment John Cunningham (VC 1917) Prince of Wales's Leinster Regiment John Cunningham (RAF officer) RAF night fighter ace (known as Cat's Eyes Cunningham) John Cunningham (Royal Navy officer) British Second World War admiral; First Sea Lord John W. Cunningham, author of Western novels and stories Johnny Cunningham, 1957–2003) Scottish folk musician K–Z [ edit] Keiron Cunningham, British rugby league player Kenny Cunningham, Irish footballer Korey Cunningham, American football player Kristan Cunningham, American interior designer and television personality Larry Cunningham (1938–2012) Irish country music singer Larry Cunningham (1951–2019) American R&B singer, member of the vocal group The Floaters Laurie Cunningham, English former footballer Leland Cunningham, American astronomer and electronic computing authority Liam Cunningham, an Irish actor Loren Cunningham, American-born missions statesman and founder of Youth With A Mission Marta Cunningham (1869–1937) American-born European-based soprano-singer and philanthropist Melvin Cunningham (born 1973) American football player Merce Cunningham (1919–2009) American choreographer Michael Cunningham, award-winning American novelist, author of The Hours Michael R. Cunningham, Chancellor National University System Milton Joseph Cunningham, American politician Myrna Cunningham, Miskita feminist and indigenous rights activist from Nicaragua Owen Cunningham, Australian rugby league footballer Patrick Cunningham (1878–1960) Irish politician Phil Cunningham (folk musician) Scottish accordionist with the folk group Silly Wizard Phil Cunningham (rock musician) English musician Randall Duke Cunningham, U. S. Representative from California Randall Cunningham, American football player Redmond Cunningham, Irish officer in the British Army Richie Cunningham (American football) born 1970) American football placekicker Robert Cunningham (disambiguation) any of several people Ross Cunningham, Scottish footballer Scott Cunningham, writer Sean S. Cunningham, film producer and director Sederrik Cunningham, American football player Sophie Cunningham (born 1963) Australian writer and editor Sophie Cunningham (basketball) born 1996) American basketball player Stacey Cunningham, 67th President of the New York Stock Exchange Sumner Archibald Cunningham (1843–1913) American Confederate veteran and newspaper editor Tony Cunningham (footballer) Jamaican former footballer Walter Cunningham, astronaut Wade Cunningham, New Zealand racing driver Ward Cunningham, founder of the first wiki William Cunningham (disambiguation) W. Peyton Cunningham, American lawyer and state legislator Zach Cunningham (born 1994) American football player Notable fictional characters sharing this surname [ edit] Max Cunningham, character from Hollyoaks Howard Cunningham, character from Happy Days Joanie Cunningham, character from Happy Days Marion Cunningham, character from Happy Days Richie Cunningham, character from Happy Days Tom Cunningham, character from Hollyoaks The Cunningham family in To Kill a Mockingbird by Harper Lee Mr and Alec Cunningham in the Sherlock Holmes story " The Adventure of the Reigate Squire.
I'm on a new level... Injuries & poor front office drafting ended Superbowl potential 😔. No one: Not even a single soul: The school janitor: giggling intensifies. Excellent and insightful film on the creative genius, Merce Cunningham. I will recommend to all my friends. Hi is this Alex N O A R E Y O U S U R E. I felt that. Cunningham movie rotten tomatoes. Oh yes lord I thank you 🙏🙏. 1 win & 6 nominations. See more awards » Edit Storyline Even for those who know little about dance, Merce Cunningham is a recognizable name - an iconic figure in his field. His mid-20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it. he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a... Written by Toronto International Film Festival Plot Summary, Add Synopsis Taglines: One choreographer defined 20th century modern dance. See more » Details Release Date: 13 December 2019 (USA) Box Office Opening Weekend USA: 18, 422, 15 December 2019 Cumulative Worldwide Gross: 211, 175 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».
Can you come to my city and hide mini babies so i can look for them? lmao. Remember you body is a temple and you will forever feed it garbage. Buena buena 👏🏻. Cunningham movie trailer. Movie cunningham. Cunningham the movie. “he knew he was talking to a queer” LMFAO. This is beautiful. Nick Allen December 13, 2019 2019 has seen many great documentaries, across the various styles in which to tell a true story. But theres been nothing quite like Alla Kovgan s “Cunningham, ” an exhilarating testament to documentaries as a boundless form of art. A celebration of New York choreographer Merce Cunningham, the film dreams beyond restrictions many visual storytellers seemingly adhere to. As its narrative tells brief bits about Cunningham's life, and puts his other-worldly dance routines center stage while accompanied by flourishes from 20th century avant-garde music, “Cunningham” honors the tools of filmmaking—sound, action, dialogue—with the harmonious blending of three art forms: music, dance, poetry. Advertisement The first words heard from Cunningham are essential to understanding his art, but also to enjoying Kovgans film. “I never was interested in dancing that referred to a mood or or a feeling, or in a sense expressed the music. the dancing does not refer, it is what it is. Its that whole visual experience. ” That statement provides a path that most art doesn't: Dont interpret. Just watch. Its an inviting, liberating, intoxicating mindset, and perfect for a movie whose immense pleasure comes from beholding continually inspired creativity, simultaneously from an intentional debut director and an instinctual renowned choreographer. In lieu of a typical structure, Kovgan presents Cunningham's life as like a string of performances, in which we sometimes get to see footage of him doing one (sometimes with close-ups of his massive feet) as matched with a modern dancer (more specifically, a member of the last Cunningham group. The performances are shown chronologically, and span his work from 1942 to 1972 (Cunningham created until 2009, the year he died at age 90. While it is most concerned with the philosophy behind his dances, Kovgan's editing does create some narrative, with audio snippets of students talking about studying with Cunningham, and later forming a troupe that went on tour in 1964 for an international tour in Europe and Asia (where their audiences werent always pleased. A decent chunk of the story focus also concerns his relationship with avant-garde composer John Cage, and reflections from students about getting onto Cunningham's wavelength of instinctual movements that come with no explanation. You could accuse Kovgan's film of not having enough connective tissue between some of these story elements, but "Cunningham" never wants to be fulfilling as simply a biography to begin with. The film touches upon some of Cunningham's most famous collaborations, like with the cathartic cacophony of Cages music, the pop art of Robert Rauschenberg, or Andy Warhol s silver clouds, the metallic balloons shaped like pillows. There are plenty of collaborators that arent even mentioned (Brian Eno, Radiohead, Roy Lichtenstein) same goes with the accomplishments and awards Cunningham received. But an emphasis on history is not missed; his work speaks beautifully on its own. In Kovgans hands, even archive practice footage feels worthy of a museum. “Cunningham” actively considers the past and present—audio interviews of Cunningham talking about his approach plays over modern-day footage of dancers enacting the philosophies of his words. The routines are the film's true focus, as with one of the first we see: a large empty space with windows for natural light to paint the floor; dancers in pastel-colored leotards are observed by a steady camera that gently goes back and forth with them. The dancers have a precise flow, and the ease of their full-body expressions is just one eye-popping element. Aside from hearing Cunninghams words (about his interest in “extending movement possibilities” by mixing dance and modern ballet) moments of silence are filled in by a near-meditative sound of feet landing and swiping across the floor. Each aesthetic piece at play demands attention, and it makes for an addictive spectacle. Other routines that follow contain more sounds, more props, more movie. Cunninghams “RainForest” from 1968, and accompanied by the experimental squeaks by David Tudor, has three dancers in nude-colored, torn tights kicking around Warhols silver clouds, all along a reflective floor. In its preservation of his work, Cunningham" offers one impressive staging after the next, like a piece that has dancers in the woods, or a rooftop at night. Meanwhile, Kovgan's camera becomes its own force, sometimes looking down on the dancers, running side to side with them, or putting its focus on their surroundings. Astonishingly, this is Kovgans first feature project, and yet her way of presenting her surplus of footage, photos, and letters is far beyond many of her peers. Many filmmakers would cut from one clip to the next, but Kovgan dares to often put her footage side by side, slightly overlap them like photos dropped on a table, or move the clip itself across the screen. The information of "Cunningham" is always in motion, in defiance of docs that seem to start and stop with each talking head. A similar kinetic effect occurs when archive footage is shown as a smaller box with a larger, defining photo of Cunningham in the background—like watching a video with your computers desktop visible in the background, but the two boxes orchestrate a grandiose sense of character with a full, striking image (Kovgan's approach is more like the 21st century storytelling in an " Unfriended " movie than a typical doc. Kovgan proves exceptional at making an audience understand a subject through unconventional filmmaking, just like Cunningham was clearly gifted at filling a stage with ideas, without having to say what it all means. Reveal Comments comments powered by.
Cunningham home Synopsis Merce Cunningham Gallery Creative team Producing team Press Festivals Subscribe LONDON. Beautifully sung Happy birthday to me. Lecture automatique À suivre Léonard de Vinci - Le portrait retrouvé 86 min 6 min Disponible du 28/11/2019 au 28/02/2020 Découvrez l'offre VOD-DVD de la boutique ARTE Merce Cunningham a révolutionné la danse. La metteuse en scène Alla Kovgan ressuscite à présent ses chorégraphies dans des lieux spectaculaires. Avec le film Cunningham, elle montre combien ses pièces nont rien perdu de leur modernité. Auteur: Alexander C. Stenzel Chargé(e) de programme: Naomi Naegele, HR Pays: Allemagne Année: 2019. Cunningham movie review. Jessie McCartney was my first crush as a child lolol.
This song lord i love u lord i need it a blessing to my soul it have me crying. god bless u brother. Mans got an nba ready body. Fabulously fuzzy! Great stuff RC. 💖 How long after watching this will I still be seeing trails? 👀. My favourite on the album 🥺 fantastic video. WW3 exists: Us: makes memes WW3: am i a joke to you.
Movie cunningham. Doctor: So you can go on T now or- My paranoid self seeing the news on ww3: Nah I don't mind waiting. “You had me at hello then you opened up your mouth and that is when it started going south.” Is not only a Victorious line but is EXTREMELY rude!😤(I ❤️ Victorious and Jordan. Movies, ‘Cunningham Review: Exploring Space, Time and Dance in 3-D Critics Pick Alla Kovgans documentary about Merce Cunningham shows aspects of his choreography that can be difficult to convey on conventional film. Credit. Mko Malkhasyan/Magnolia Pictures Published Dec. 11, 2019 Updated Dec. 13, 2019 Cunningham NYT Critic's Pick Directed by Alla Kovgan Documentary, Biography, Music PG 1h 33m More Information The screen is flat, but the space is round, both infinite and enveloping. The human figures in it, camouflaged, should blend in with the background. But they stick out in every direction, moving every which way. This thrilling fragment of the choreographer Merce Cunninghams 1958 dance “Summerspace” is sufficient justification to make a documentary about Cunningham in 3-D. The technology conveys aspects of his radical aesthetic that are otherwise difficult to suggest on film. And thats only one reason that Alla Kovgans “Cunningham” is an excellent introduction to a great body of work that can be hard to get a handle on. One of Cunninghams many innovations was to dissolve the spatial organization and frontal focus of the proscenium stage, making all parts equal, with dancers facing and moving in any orientation and often several things happening at once. Kovgans film doesnt reproduce this so much as find a vivid equivalent. The camera, choosing what you see, diminishes the feeling of simultaneity. But by moving into and through the dances in 3-D, it offers an immersive sense of what Cunningham called “a space in which anything can happen. ” It helps you see how the air around a dancer can seem as alive as the flesh. If 3-D helps put Cunningham across, it isnt required. Some of the most seductive footage here isnt the new performances of old works (1942-1972) that Kovgan filmed in 3-D, like “Summerspace, ” but lower-resolution, 2-D archival footage, much of it rare and irreplaceable. What makes it irreplaceable are the original performers, especially Cunningham himself, surely one of the greatest dancers of all time. His longtime muse Carolyn Brown speaks of his “quiet center” and “animal authority”; we see all that and more. Its another strength of the film that the voices we hear are hers and his and those of other company members, recorded long ago. No current-day experts are needed to establish the core ideas of the Cunningham aesthetic, from the use of chance in composition to the independence of dance and music. The choice not to use new or outside voices keeps us in the period, and it helps preserve a Cunningham-like tact around personal facts. Although much of the film proceeds in chronological order, theres almost no biographical back story; the long-shrouded relationship between Cunningham and the composer John Cage is delicately (and moving) presented in a single exchange of inexplicit letters. Likewise, tensions between Cunningham and his dancers arent hidden, but theyre not over-explained, either. Emotion roils beneath a deceptively placid surface. A story accrues. The same tact extends to questions of meaning. Cunninghams practical-gnomic explanations illuminate without shutting down options. Kovgan doesnt follow Cunninghams courage all the way, though. As if to compensate for the lack of 3-D in the archival material, she collages it, splitting the screen into many panels. Its artful but effortful, drawing too much attention to itself. Thats also true of much of the new footage. The elegant camera movements and dramatic settings chosen by Kovgan — dance in a formal garden that the camera glides away from, over a pond, like a dragonfly — are beautiful but often distract from what they are intended to display. The 90-minute film excerpts 14 works, which means that the snippets are quite short. This excerpting has a precedent in Cunningham practice. He liked to mix up pieces of many works in one-off performances called Events. Formally and philosophically, his focus was on each moment, with little linear development. The well-chosen selections in “Cunningham” reproduce the variety of a Cunningham Event, and give the Cunningham experience of luminous instants. But what the film doesnt give is an accurate sense of Cunningham time. In a Cunningham dance, the mind can wander, experience different rates of change, be baffled, engrossed, astonished, bored. The price of Kovgans efficiency is impatience, always cutting away and moving on. “Cunningham” registers the resistance that its subject encountered: the puzzlement, the thrown fruit. But as a film, it doesnt take comparable risks, so it precludes the possibility of certain rewards, ones you have to see the full dances to get. Thats what makes it a good introduction. Cunningham Rated PG. Running time: 1 hour 33 minutes.
Randy cunningham movie. Merce cunningham movie. Movie cunningham showtimes. Patrick cunningham movie. I can a dude sits there long enough and says, Ehhhh. Look, but listen. Say for real. they'll eventually give in. I've seen this in action. YouTube. One of the best and moving performances on any of The Voice series. A Magical moment.
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Bill cunningham movie netflix. Movie trailer cunningham. Merce Cunningham Merce Cunningham in 1961 Born Mercier Philip Cunningham April 16, 1919 Centralia, Washington Died July 26, 2009 (aged 90) New York, New York Occupation Dancer, choreographer Years active 1938–2009 Partner(s) John Cage [1] Website Mercier Philip " Merce " Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He is also notable for his frequent collaborations with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, Radiohead, artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, Jasper Johns, and costume designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher and leader of the Merce Cunningham Dance Company, 2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. [3] Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Biography [ edit] Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, 4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. [5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. [6] During this time, Martha Graham saw Cunningham dance and invited him to join her company. [7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992. [8] In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events. or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center 's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. [9] Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. [10] Merce Cunningham Dance Company [ edit] Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work. [11] MCDC made its first international tour in 1964, visiting Europe and Asia. [11] From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. [12] In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011 [13] with a performance at the Park Avenue Armory. [14] Artistic philosophy [ edit] Collaboration [ edit] Still frame from Loops, a digital art collaboration with Cunningham and The OpenEnded Group that interprets Cunningham's motion-captured dance for the hands. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another. [15] After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth. [16] The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for a number of MCDC's early works, served as the Company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol. Chance operations [ edit] John Cage and I became interested in the use of chance in the 50s. I think one of the very primary things that happened then was the publication of the " I Ching. the Chinese book of changes, from which you can cast your fortune: the hexagrams. Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance. I was working on a title called, Untitled Solo. and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff. — Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000 Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. [17] Although the use of chance operations was considered an abrogation of artistic responsibility, 18] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries. Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's primary influences. In the use of chance procedures Cunningham abandoned the more traditional structured form of dance, he did not believe that a dance needs a beginning, middle or end. [17] 19] Examples in works [ edit] In Sixteen Dances for Soloist and Company of Three (1951) Cunningham used Indeterminacy for the first time in this piece; the changing element for each show was the sequence of the sections. In Field Dances (1963) Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they could do as they pleased. This included exiting and entering at will, executing it in any order and as many times as desired. In Story (1963) Cunningham experimented with the variables of costumes and sets. Before each performance dancers chose an outfit from a pile of second hand clothes picked out by the designer, Robert Rauschenberg. Rauschenberg was also responsible for creating a new set for every show with items he found in the theatre. Suite by Chance (1953) was his first work made entirely through chance procedures. Charts were created listing elements such as space, time, and positions. A coin was then tossed to determine each of these elements. Canfield (1969) was created by using playing cards. Each movement was assigned a playing card and chosen randomly. [20] Use of technology [ edit] Cunningham's lifelong passion for exploration and innovation made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and after 1991 choreographed using the computer program DanceForms. Cunningham explored motion capture technology with digital artists Paul Kaiser and Shelley Eshkar to create Hand-drawn Spaces, a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, BIPED, for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his Loops choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open source collaboration of the same name with The OpenEnded Group. Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video Westbeth (1974) in collaboration with filmmaker Charles Atlas [17] In 2009, Cunningham's interest in new media led to the creation of the behind-the-scenes webcast Mondays with Merce. [21] Perspective [ edit] The use of stage space also changed in Cunningham's choreography. The "front and centre" spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham's own studio, for instance, audiences are seated in an L-shaped configuration. The viewer's focus is never directed to a particular spot; he must often decide among many centres of activity. [22] Merce Cunningham saw randomness and arbitrariness as positive qualities because they exist in real life. [17] Most of Cunningham's choreographic process works to break the boundaries of "putting on a show. the removal of center stage is an example of this—without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary. or not. Legacy Plan [ edit] The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represented Cunningham's vision for continuing his work in the upcoming years, transitioning his Company once he was no longer able to lead it, and preserving his oeuvre. The Legacy Plan included a comprehensive digital documentation and preservation program, which ensures that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works, controls his dances for licensing purposes; Cunningham associates prepared detailed records of the dances so they could be licensed and given authentic productions by other companies. [23] In addition, the plan outlined a final international tour for the Company, and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and the transfer of all assets to the Merce Cunningham Trust. From Merce's death at age 90 through the Board's last meeting in 2012, the Legacy Plan implemented his wish that the Company complete a worldwide legacy tour and then close. The final performance of the Merce Cunningham Dance Company was on December 31, 2011, at the Park Avenue Armory in New York City. The final meeting of the Board of Directors for the Merce Cunningham Dance Company was held March 15, 2012, in Cunningham's studio at the top of the Westbeth building in the West Village. [24] Exhibitions [ edit] There have been numerous exhibitions dedicated to Cunningham's work. In addition, his visual art is represented by Margarete Roeder Gallery. The major exhibition Invention: Merce Cunningham & Collaborators at the New York Public Library for the Performing Arts closed on October 13, 2007. Merce Cunningham: Dancing on the Cutting Edge, an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007. A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, were shown in the spring of 2002 at the Gallery of Fine Art, Edison College, Fort Myers, Florida. A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999; the Museum Moderner Kunst Stiftung Ludwig, Vienna, 2000; and the Museo d'Arte Contemporanea, Castello di Rivoli, Turin, 2000. Works [ edit] Cunningham choreographed almost 200 works for his company. [25] Suite for Five (1956–1958) Music: John Cage, Music for Piano Costumes: Robert Rauschenberg [26] Lighting: Beverly Emmons Crises (1960) Music: Conlon Nancarrow (from Rhythm Studies for Player Piano) Costumes, Lighting: Robert Rauschenberg Rainforest (1968) Music: David Tudor Décor: Andy Warhol (Silver Clouds) Costumes: Jasper Johns (uncredited) Lighting: Richard Nelson Second Hand (1970) Music: John Cage, Cheap Imitation) Décor & Costumes: Jasper Johns Lighting: Richard Nelson (1970) Christine Shallenberg (2008) Sounddance (1975) Music: David Tudor, Toneburst & Untitled (1975/1994) Décor, Lighting, Costumes: Mark Lancaster Fabrications (1987) Music: Emanuel Dimas de Melo Pimenta, Short Waves & SBbr Décor, Costumes: Dove Bradshaw Lighting: Josh Johnson CRWDSPCR (1993) Music: John King, blues 99 Ocean (1994) Music: David Tudor, Soundings: Ocean Diary and Andrew Culver, Ocean 1–95 Décor, Lighting, Costumes: Marsha Skinner BIPED (1999) Music: Gavin Bryars, Biped Décor: Paul Kaiser, Shelley Eshkar Costumes: Suzanne Gallo Lighting: Aaron Copp Split Sides (2003) Music: Radiohead, Sigur Rós Décor: Robert Heishman, Catherine Yass Costumes: James Hall Lighting: James F. Ingalls Views on Stage (2004) Music: John Cage, ASLSP and Music for Two Décor: Ernesto Neto, Other Animal eyeSpace (2006) Music: Mikel Rouse, International Cloud Atlas Décor: Henry Samelson, Blues Arrive Not Anticipating What Transpires Even Between Themselves Costumes: Henry Samelson eyeSpace (2007) Music: David Behrman, Long Throw and/or Annea Lockwood, Jitterbug Décor: Daniel Arsham, ODE/EON Costumes: Daniel Arsham XOVER (2007) Music: John Cage, Aria (1958) and Fontana Mix (1958) Décor & Costumes: Robert Rauschenberg, Plank Nearly Ninety (2009) Music: John Paul Jones, Takehisa Kosugi, Sonic Youth Décor: Benedetta Tagliabue Costumes: Romeo Gigli for io ipse idem Lighting: Brian MacDevitt Video Design: Franc Aleu Honors and awards [ edit] 2009 Jacob's Pillow Dance Award Skowhegan Medal for Performance 2008 Honorary Doctorate of Fine Arts from Bard College, Annandale-on-Hudson, NY 2007 Nelson A. Rockefeller Award, Purchase College School of the Arts, State University of New York Montgomery Fellow (Arts and Literature) Dartmouth College, Hanover NH 2006 Honorary Doctorate of Fine Arts, Cornish College of the Arts, Seattle WA 2005 Honorary Doctorate of Humane Letters, University of Minnesota, Minneapolis MN Praemium Imperiale, Tokyo 2004 Officier of the Légion d'Honneur, France 2003 Edward MacDowell Medal in interdisciplinary art, the MacDowell Colony, Peterborough NH 2002 Kitty Carlisle Hart Award for Outstanding Achievement in the Arts ( Arts & Business Council) New York NY MATA (Music at the Anthology) Award, New York NY Medal of the City of Dijon, France 2001 Coat of Arms of the City of Mulhouse, France La Grande Médaille de la Ville de Paris (echelon vermeil) from the Mayor of Paris Career Transition for Dancers Award, New York NY Herald Archangel Award, Glasgow, Scotland Village Award, Greenwich Village Society for Historic Preservation, New York Honorary degree from Edith Cowan University, Perth, Western Australia 2000 Nijinsky Special Prize, Monaco The Dorothy and Lillian Gish Prize, New York NY Named a "Living Legend" by the Library of Congress, Washington DC 1999 Premio Internazionale "Gino Tani. Rome Handel Medallion from the Mayor of New York City NY Isadora Duncan Dance Award for Lifetime Achievement, San Francisco CA Fellow of the Academy of Performing Arts, Hong Kong The key to the City of Montpellier, France 1998 Bagley Wright Fund Established Artists Award, Seattle WA 1997 Barnard College Medal of Distinction, New York NY Grand Prix of the Société des Auteurs et Compositeurs Dramatiques, France 1996 Nellie Cornish Arts Achievement Award from his alma mater, Cornish College of the Arts, Seattle WA 1995 Honorary degree from Wesleyan University, Middletown CT Carina Ari Award (Grand Prix Video Danse with Elliot Caplan) Stockholm, Sweden Golden Lion of the Venice Biennale, Italy 1993 Inducted into the National Museum of Dance's Mr. Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, NY Dance and Performance Award for Best Performance by a Visiting Artist, London, England Medal of Honor from the Universidad Complutense of Madrid, Spain (With John Cage, posthumously) the Wexner Prize of the Wexner Center for the Arts at Ohio State University, Columbus OH New York Dance and Performance Award ( Bessie. New York NY Tiffany Award from the International Society of Performing Arts Administrators, New York NY 1990 National Medal of Arts, Washington DC Porselli Prize, Italy Digital Dance Premier Award, London, England Award of Merit from the Association of Performing Arts Presenters, New York NY 1989 Chevalier of the Légion d'Honneur, France 1988 Dance/USA National Honor, New York NY 1987 Algur H. Meadows Award for Excellence in the Arts, Southern Methodist University, Dallas TX 1985 Laurence Olivier Award for Best New Dance Production (Pictures) London, England Kennedy Center Honors, Washington DC MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation, Chicago IL 1984 Inducted as an Honorary Member into the American Academy and Institute of Arts and Letters, New York NY 1983 The Mayor of New York's Award of Honor for Arts and Culture, New York NY 1982 The Samuel H. Scripps/American Dance Festival Award, Durham NC Commandeur de l'Ordre des Arts et des Lettres, France 1977 Capezio Award, New York NY 1975 New York State Award, Albany NY 1972 BITEF Award, Belgrade, Yugoslavia Honorary degree from the University of Illinois, Champaign/Urbana IL 1966 Gold Medal for Choreographic Invention at the Fourth International Festival of Dance, Paris 1964 Medal of the Society for the Advancement of Dancing in Sweden, Stockholm 1960 Dance Magazine Award, New York NY 1959 & 1954 Fellowships from the John Simon Guggenheim Memorial Foundation, New York NY Footnotes [ edit] "Merce Cunningham obituary. Telegraph (UK. July 27, 2009. Retrieved 2010-01-26. Merce Cunningham who died on July 26 aged 90, was a 20th-century choreographer; his career in dance, which lasted more than 60 years, began when, as a Seattle-based dance student in 1939, he was invited by Martha Graham to join her company in New York ^ Merce Cunningham Dance Company. Archived from the original on 2009-07-13. Retrieved 2010-01-26 { inconsistent citations} "Legacy Plan. Cunningham Dance Foundation. Retrieved 2010-01-26 { inconsistent citations} "Cunningham, Merce (1919-2009) Choreographer. Retrieved 2014-09-26. ^ Merce Cunningham. Cunningham Dance Foundation, 1980. VAST: Academic Video Online. Alexander Street Press. Accessed 27 June 2015. ^ Interview with Merce Cunningham. MacNeil-Lehrer Productions, 1999. Dance in Video: Volume II. Accessed 27 June 2015. ^ Merce Cunningham. 2013. Retrieved 2013-03-13. ^ Kaufman, Susan (30 August 2012. John Cage, with Merce Cunningham, revolutionised music, too. Washington Post. Retrieved 28 June 2015. ^ Vaughan, David (July 27, 2009. Merce Cunningham. The Guardian. London. Retrieved May 12, 2010. ^ Entertainment, Arts & Culture, Dance great Cunningham dies at 90. BBC News. 2009-07-28. Retrieved 2012-11-18. ^ a b "History. Merce Cunningham Trust. Retrieved 28 June 2015. ^ Macauley, Alistair (23 March 2008. aryshnikov's Artistry, Behind the Camera. The New York Times. Retrieved 28 June 2015. ^ Village Voice, Deborah Jowitt, Wednesday, September 7, 2011. ^ Macaulay, Alastair (2011-12-30. Merce Cunningham Dance Company at Park Avenue Armory. ISSN 0362-4331. Retrieved 2019-01-14. ^ Merce Cunningham. Retrieved 28 June 2015. ^ Vadukul, Alex (April 20, 2009. Sonic Youth, John Paul Jones Give Merce Cunningham's Dance Show a Fierce Soundtrack. Rolling Stone. Retrieved 31 January 2012. ^ a b c d Au, Susan. Ballet and Modern Dance. ^ Johnston, Jill (1996. Jasper Johns: Privileged Information. New York: Thames and Hudson. ISBN 0500017360. Quoted in Glueck, Grace (9 Feb 1997. Hiding Behind the Flag. The New York Times Book Review. Retrieved 29 June 2015. ^ Au, Susan. Ballet and Modern Dance. Thames & Hudson. p. 156. ISBN 978-0-500-20352-1. ^ Au, Susan. Ballet and Modern Dance (2nd ed. ISBN 978-0-500-20352-1. ^ Mondays with Merce ^ Au, Susan (2012. London, England: Thames & Hudson world of art. ISBN 978-0-500-20411-5. ^ Daniel J. Wakin (June 9, 2009) Merce Cunningham Sets Plan for His Dance Legacy New York Times. ^ Sutton's Law: A Final Goodbye. 2012-03-18. Retrieved 2012-11-18. ^ Merce Cunningham Dance Company – Biography. 2009. Archived from the original on 2006-10-01. Retrieved 2009-07-28. ^ Robert Rauschenberg" Wikipedia, 2019-01-08, retrieved 2019-01-14 Sources [ edit] Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York. Biography, 368 pp, in German. Schott Music, Mainz, Germany. ISBN 978-3-7957-0800-9 (Biography on pianist Grete Sultan, John Cages's and Merce Cunningham's close friend. Many aspects regarding Cage and Cunningham! Bremser, M. (Ed) 1999) Fifty Contemporary Choreographers. Routledge. ISBN 0-415-10364-9 Cunningham, Merce (1968) Changes/Notes on Choreography. Something Else Press. Cunningham, M. and Lesschaeve, J. (1992) The Dancer and the Dance. Marion Boyars Publishers. ISBN 0-7145-2931-1 Vaughan, David (1999) Merce Cunningham: Fifty Years. Aperture. ISBN 0-89381-863-1 Vaughan, D. and Cunningham, M. (2002) Other Animals. ISBN 978-0-89381-946-0 Kostelanetz, R. (1998) Merce Cunningham: Dancing in Space and Time. Da Capo Press. ISBN 0-306-80877-3 Brown, Carolyn (2007) Chance and Circumstance Twenty Years with Cage and Cunningham. Alfred A. Knopf. ISBN 978-0-394-40191-1 Biography 53750 External links [ edit] Merce Cunningham Trust Merce Cunningham Dance Company Archival footage of the Merce Cunningham Dance Company performing in Sounddance in 2009 at Jacob's Pillow. DLAR Artists bio PBS:American Masters biography Kennedy Center biography Archive footage of the Merce Cunningham Dance Company performing Cunningham's piece Banjo in 1955 at Jacob's Pillow American Ballet Theater biography Merce Cunningham Film & Video at Electronic Arts Intermix Merce Cunningham ìn the Mediateca Media Art Space Merce Cunningham on IMDb Merce Cunningham — Daily Telegraph obituary Guardian Obituary Obituary in the Star-Gazette New York Times Obituary 28 July 2009.
This song is such a blessing, really speaks life... 2:39 we stan a queen who stans another queen also I so be gettin into my feels at like 3 sskskks. Séances Bandes-annonces Casting Critiques spectateurs Critiques presse Photos VOD Bande-annonce Séances (39) Spectateurs 3, 3 54 notes dont 8 critiques noter: 0. 5 1 1. 5 2 2. 5 3 3. 5 4 4. 5 5 Envie de voir Rédiger ma critique Synopsis et détails Cunningham retrace lévolution artistique du chorégraphe américain Merce Cunningham, de ses premières années comme danseur dans le New-York daprès-guerre, jusquà son émergence en tant que créateur visionnaire. Tourné en 3D avec les derniers danseurs de la compagnie, le film reprend 14 des principaux ballets dune carrière riche de 180 créations, sur une période de 70 ans. Cunningham est un hommage puissant, à travers des archives inédites, à celui qui révolutionné la danse, ainsi quà ses nombreux collaborateurs, en particulier le plasticien Robert Rauschenberg et le musicien John Cage. Distributeur Sophie Dulac Distribution Voir les infos techniques 1:42 Critiques Presse Le Point Transfuge Elle Le Figaro Rolling Stone Télérama Le Journal du Dimanche Le Nouvel Observateur Les Fiches du Cinéma Première Chaque magazine ou journal ayant son propre système de notation, toutes les notes attribuées sont remises au barême de AlloCiné, de 1 à 5 étoiles. Retrouvez plus d'infos sur notre page Revue de presse pour en savoir plus. 12 articles de presse Critiques Spectateurs Merce Cunningham est sans doute lune des figures les plus marquantes de la danse contemporaine. Sa carrière se déroule sur près de soixante-dix ans depuis la création de sa compagnie à New York en 1953 jusquà sa mort en 2009, pendant lesquels il montera 180 ballets et participera à 700 performances. Elle est marquée par sa collaboration avec John Cage, un maître de la musique minimaliste, et avec dautres artistes de la scène... Lire plus magnifiquement filmé, des chorégraphies pourquoi être mises en valeur de manière aussi rasoir: c'est intello, sérieux et soporifique. Dommage. Une chorégraphie très graphique, épurée, mais accompagnée par une musique minimaliste font que le tout est dépourvu de sensualité, d'humanité. Je reconnais le travail parfait des danseurs mais très robotisés. Que je me suis ennuyée! Un salmigondis d'images et de sons mal agencé. C'est très laid, pédant, prétentieux, étriqué. Mieux voir en vrai les chorégraphies de Cunningham plutôt que de perdre son temps devant ce documentaire laborieux. La 3D fonctionne mal et produit de mauvais effets contrairement au film de Wenders sur Pina Bausch. Pourquoi distribuer un tel film en salles alors qu'il trouverait sa juste place à la télé? 8 Critiques Spectateurs 20 Photos Secrets de tournage Un chorégraphe de renom Né en 1919, Merce Cunningham est un chorégraphe mondialement reconnu dont linnovation a été sans égale tout au long des XXe et XXIe siècles. Tout au long de ses 70 années de carrière, il a chorégraphié plus de 180 ballets. Connu pour ses expérimentations intégrant le hasard, il a également largement travaillé avec les nouvelles technologies de son époque: le cinéma, la vidéo, la programmation informatique et la motion capture. Genèse C'est après assisté à une représentation de la Merce Cunningham Company à New York en 2011 qu'Alla Kovgan a eu l'idée dune captation en 3D. Elle propose son projet à Robert Swinston, qui travaillait aux côtés de Merce depuis 32 ans, ainsi quà la Dance Films Association. Elle raconte: Sans un partenariat international, le film, qui exigeait beaucoup de moyens, naurait pu se faire. Il maura fallu sept ans pour réaliser ce proje... Une période précise Le documentaire se concentre sur les 30 premières années de sa carrière de chorégraphe, entre 1942 et 1972, car la réalisatrice ne voulait pas faire un biopic: Javais aussi besoin de raconter une histoire autour de sa vie et ce sont justement des années de peine, de dureté, de sensation déchecs. Elle voulait le représenter autrement: Jai voulu prendre le contrepied en le montrant dans la fleur de lâge et dans linquiétude de ces a... 5 Secrets de tournage Si vous aimez ce film, vous pourriez aimer... Voir plus de films similaires Pour découvrir d'autres films: Les meilleurs films de l'année 2019, Les meilleurs films Documentaire, Meilleurs films Documentaire en 2019. Commentaires.
Critics Consensus Cunningham may frustrate viewers hoping for a purer distillation of its subject's work, but it remains a solid tribute to a brilliant talent. 86% TOMATOMETER Total Count: 49 100% Audience Score User Ratings: 5 Cunningham Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Cunningham Videos Movie Info CUNNINGHAM traces Merce's artistic evolution over three decades of risk and discovery (1944-1972) from his early years as a struggling dancer in postwar New York to his emergence as one of the world's most visionary choreographers. The 3D technology weaves together Merce's philosophies and stories, creating a visceral journey into his innovative work. A breathtaking explosion of dance, music, and never-before-seen archival material, CUNNINGHAM is a timely tribute to one of the world's greatest modern dance artists. Rating: PG (for some smoking) Genre: Directed By: In Theaters: Dec 13, 2019 limited Runtime: 93 minutes Studio: Magnolia Pictures Cast News & Interviews for Cunningham Critic Reviews for Cunningham Audience Reviews for Cunningham Cunningham Quotes News & Features.
Kelly cunningham movie. A remarkable achievement by filmmaker Alla Kovgan, spending seven years to make this classic tribute to the late dancer/choreographer Merce Cunningham.
Working with both archive footage and valuable sound recordings, she conjures up the avant-garde artist through recordings of his work, his philosophy of his art and comments by many close collaborators including notably John Cage and Robert Rauschenberg. Not meant as a biopic, film concentrates on spectacularlhy cinematic (in 3-D) new performances of many of his dances, executed by members of his company, which disbanded in 2011, after Merce's death in 2009.
At a q&a following the screening, Kovgan indicated that Wim Wenders' innovative 2011 3-D dance film about German choreographer Pina Bausch inspired her to take on this formidable project, finally starting shooting in Stuttgart in 2015 with principal photography taking place in 2018.
Her use of 3-D technique is outstanding, resulting in gripping visual images, enhanced by the accompaniment of the original dance scores by John Cage and others. For a novice like me, not overly familiar with Merce's achievements, the movie brings his dance to life and points to how 3-D technology can be used artfully rather than as a gimmick, or its current excuse to permit higher price points for movie admissions to films, both animated and action-oriented, that should play just as well if not better in 2-D on large screens.
Movie highlighting sam bam cunningham. Cunningham movie chicago.
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