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Interview with Robert Ellis Dunn

Author: Robert Ellis Dunn; Don McDonagh
Publisher: 1970.
Edition/Format:   Audiobook on CD : CD audio : EnglishView all editions and formats
Database:WorldCat
Summary:
Disc 1 (ca. 64 min.). Robert Dunn speaks with Don McDonagh about his involvement in dance, including working as a rehearsal pianist for Martha Graham; Louis Horst as a teacher; chance and indeterminacy; the composition workshop he and John Cage taught [at the Merce Cunningham Studio], including the workshop's performance at Judson Memorial Church; the nature of the assignments; how he came to teach the composition
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Details

Named Person: Robert Ellis Dunn; John Cage; Simone Forti; James Waring
Material Type: Audio book, etc.
Document Type: Sound Recording
All Authors / Contributors: Robert Ellis Dunn; Don McDonagh
OCLC Number: 311800512
Notes: Interview with Robert Ellis Dunn conducted by Don McDonagh on March 28, 1970 in New York City.
Sound quality ranges from fair to poor. The voice of the interviewee is so soft as to frequently be almost unintelligible. The recording is also marred by occasional erroneous noise.
Description: 2 sound discs (ca. 114 min.): digital ; 4 3/4 in.

Abstract:

Disc 1 (ca. 64 min.). Robert Dunn speaks with Don McDonagh about his involvement in dance, including working as a rehearsal pianist for Martha Graham; Louis Horst as a teacher; chance and indeterminacy; the composition workshop he and John Cage taught [at the Merce Cunningham Studio], including the workshop's performance at Judson Memorial Church; the nature of the assignments; how he came to teach the composition course; the composition course he taught at the Boston Conservatory of Music; more on the workshop he taught with Cage, including some of the students [short gap]; briefly, Ruth Emerson; more on the students, including their backgrounds; Robert Rauschenberg and his participation in the workshop; Dunn's approach to the performance space at Judson Memorial Church; describes a work Lucinda Childs created for the workshop; how the workshop came to perform at Judson Memorial Church; Jill Johnston; Horst's attitude toward Cunningham; Steve Paxton's anxiety-provoking choreography; [ends abruptly].

Disc 2 (ca. 50 min.). Robert Dunn speaks with Don McDonagh about the first dance performance at Judson Memorial Church [he begins by reading a description, possibly from a review, of how the evening's program started] including the absence of any overt religious content; [reads further from the putative review]; the choice of program through consensus; Steve Paxton's role in obtaining the use of Judson Memorial Church as a performance space; Merce Cunningham's choreography and the proscenium stage [short gap]; Simone Forti, including her improvisations and a dance about an onion; her personality when younger; the openness of the composition workshop; the importance composers, e.g., Louis Horst and John Cage, have played in modern dance's development; the influence of the Judson Dance Theater on ballet; his analysis of George Balanchine's ballet Agon; reasons Giselle is his favorite ballet; [short gap]; Louis Horst , including Dunn's view that he was an impediment to Graham's further development; the problem of what to call the kind of dance Merce Cunningham and Jimmy (James) Waring create, including Yvonne Rainer's suggestion of the term postmodern dance; Waring as a choreographer and as a dancer; certain details regarding the composition classes; his view that the Judson Dance Theater was partly the work of the semi-silent generation; the lack of financial resources.

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Linked Data


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schema:description"Disc 1 (ca. 64 min.). Robert Dunn speaks with Don McDonagh about his involvement in dance, including working as a rehearsal pianist for Martha Graham; Louis Horst as a teacher; chance and indeterminacy; the composition workshop he and John Cage taught [at the Merce Cunningham Studio], including the workshop's performance at Judson Memorial Church; the nature of the assignments; how he came to teach the composition course; the composition course he taught at the Boston Conservatory of Music; more on the workshop he taught with Cage, including some of the students [short gap]; briefly, Ruth Emerson; more on the students, including their backgrounds; Robert Rauschenberg and his participation in the workshop; Dunn's approach to the performance space at Judson Memorial Church; describes a work Lucinda Childs created for the workshop; how the workshop came to perform at Judson Memorial Church; Jill Johnston; Horst's attitude toward Cunningham; Steve Paxton's anxiety-provoking choreography; [ends abruptly]."
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