Points in Space (1987) is a military personnel of choreographic genius by the renowned choreographer Merce Cunningham and music and sound by his partner washbowl Cage. This alternate in particular was a made for television, and so after the success of it on television was re-worked to work on a stage. The collaborations of work between Cunningham and Cage where known as pieces of art that never tell a story or express emotions and feelings but focus on the physical facts of the body. This is what creates the guts of mystery about Cunninghams terpsichores, and leaves the audience interpretated the dance in their own way.
Cunningham was well known for using a proficiency called chance. Marcia Siegel suggests that:
Many people mistakenly believe that a dance created by chance operations is improvised or haphazard. Actually, however the opposite is true. Chance is one of concrete and objective procedures by which art can be created. (Siegel, 1985:293)
Chance is a technique that seems to have continually worked in Cunninghams favour throughout his creative, choreographic career.
It is a technique in which Cunningham would devise the movements for a piece but have them put to wedgeher in a sequence using means such as dice or cards with numbers on.
In the piece Points in Space the lighting of the piece throughout is a neutral wash that is as simple as you would bet for a piece of work by Cunningham. The dancers in this piece all wear unitards that either patterned or plain, this is in like manner the kind of simplicity you would expect from a Cunningham piece. If you look nigh whilst watching this piece you will see that the pattern on the patterned unitards is the same as that, that is on the backdrop in the background of the dance. You can never be sure what the connexion between these two is meant to be but that is the point of a Cunningham piece, for the audience to make their own interpretation of what...If you want to get a full essay, order it on our website: Orderessay
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