{"id":26420,"date":"2015-04-19T20:06:47","date_gmt":"2015-04-20T00:06:47","guid":{"rendered":"http:\/\/www.musicalamerica.com\/mablogs\/?p=26420"},"modified":"2015-05-11T17:31:53","modified_gmt":"2015-05-11T21:31:53","slug":"all-in-the-family-paul-taylors-american-modern-dance-company","status":"publish","type":"post","link":"http:\/\/www.musicalamerica.com\/mablogs\/?p=26420","title":{"rendered":"All in the Family: Paul Taylor’s American Modern Dance Company"},"content":{"rendered":"

By Rachel Straus<\/p>\n

The dance company founded by Paul Taylor in 1954 returned for their annual season (March 10-29) to the former New York State Theater, but it returned under a different name: Paul Taylor\u2019s American Modern Dance Company. This is significant. New to the company\u2019s title are the words American and Modern. Taylor, now 84 years old and considered the surviving grand master of American modern dance, appears to be concerned about the health of his chosen genre. With his company\u2019s new title comes a new mission: to present works by other choreographers, whether living or departed, who are part of the American modern dance family tree.<\/p>\n

\"Principal<\/a>

Principal advertising image for Paul Taylor’s American Modern Dance Company<\/p><\/div>\n

Now comes the first problem. What is American modern dance? John Martin, the first and longtime dance critic (1927-1962) of the\u00a0New York Times,\u00a0<\/em>described American modern dance as a genre developed from the movement style of a choreographer, who creates a training technique in service of that style, whose body of work is broadly in defiance of 19th<\/sup>\u00a0century academic ballet traditions (aka romantic stories, pointe shoes, prettiness), and whose subjects are contemporary (be they social, political, or cultural).<\/p>\n

Now comes the second problem. Today, performers who identify themselves as modern dancers take ballet class. Today, choreographers who identify their work within the modern dance tradition don\u2019t feel compelled to create a training technique, and they make commissioned work for ballet companies. Lastly, the social commentary implicit in dance theater is less in fashion in the U.S.A today than it has ever been.<\/p>\n

That said Taylor fits snugly into John Martin\u2019s definition. He disdains ballet. He has a training technique. His muscular style is inimitable, especially with its signature arms. (They are redolent of the 1937 Rockefeller Center statue of the god Atlas holding the earth aloft his shoulders.) Taylor works alternate between light-hearted and darkly eerie visions of American behavior.<\/p>\n

With all of this said, it make sense that Taylor and his advisory team chose Doris Humphrey\u2019s\u00a0Passacaglia<\/em>\u00a0(1938, set to J.S. Bach) and\u00a0Shen Wei\u2019s\u00a0Rite of Spring<\/em>\u00a0(2003, set to the four-hand Stravinsky recording) to launch his company\u2019s new initiative of showing important 20th<\/sup>\u00a0century modern dance works. Both Humphrey and Shen\u2019s works fit Mr. Martin\u2019s definition of modern dance, more or less.<\/p>\n

\"Shen<\/a>

Shen Wei Dance Arts in Mr. Shen’s Rite of Spring<\/p><\/div>\n

Shen\u2019s\u00a0Rite of Spring, <\/em>as performed by 16 members of his company,\u00a0is individualistic firstly because it makes no reference to the classic ballet version: Nijinsky\u2019s\u00a0Rite of Spring<\/em>\u00a0(1913)\u2014in which a maiden is danced to death. Notably Taylor\u2019s\u00a0Rite of Spring\u00a0<\/em>(1980) doesn\u2019t have a sacrificial dance scene either. It includes gangsters and a stolen baby, and is very much in the tradition of film noir (which he grew up on). Shen\u2019s version brings to mind the Cultural Revolution, which he was born into, and which made mass conformity, both of the arts and its people, an ideology. As if expressing this matter, Shen\u2019s set design is composed of horizontal and vertical intersecting lines of chalk, made on the stage floor, that form cells. They appear to imprison the dancers. Behaving alternatively as robots and then madmen and women, who violently throttle themselves to the floor, the dancers in Shen\u2019s world enact oppression and violence. Yet they never emote. The impersonality of their action is what makes the work so dramatic.<\/p>\n

\"Kristen<\/a>

Kristen Foote and Durell R. Comedy with other members of the Lim\u00f3n Dance Company.<\/p><\/div>\n

Humphrey\u2019s\u00a0Passacaglia\u2014<\/em>set to J.S. Bach,\u00a0played live by organist Kent Tritle, and performed by the\u00a0Jos\u00e9 Lim\u00f3n\u00a0Dance Company\u2014presents the group as an interlocking organism, where there may be a hierarchy, as delineated by the set design of different level blocks, but it is one that seems democratically elected. Humphrey stated that her favorite composer was J.S. Bach. Taylor has choreographed 17 works to the composer. His most popular Bach work\u00a0Esplanade<\/em>\u00a0(1975) is performed every season and clearly is a celebration of the group. While Humphrey\u2019s group is noble and utterly well behaved, Taylor\u2019s group is composed of young people, who frolic, fall in love, fear, loath, and hurt. Taylor\u2019s sociology is more expansive than Humphrey\u2019s, but he seems to show in his choice of this work that he feels indebted to Humphrey. Unlike Taylor\u2019s other mentor Graham, who famously said \u201cthe center of the stage is wherever I am,\u201d Humphrey\u2019s group dances show again and again the individual in the group. This is an inclusive vision. Taylor\u2019s American Modern Dance Company is trying to do a similar thing with its programming of modern dances by other choreographers. No doubt a family that sticks together has a better chance of survival.<\/p>\n

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