736:
other standards. He had this gift of choosing people who 'couldn't do too much' in conventional terms but who – under his subtle directorial manipulations – revealed spectacular stage personalities. He could pull the silk purse out of the sow's ear. At its worst, dancing with Jimmy could feel like a sow imitating a swan, but I got a lot out of it. He used what I had and demanded more than I thought I had, and his instincts were usually right. In some ways he fathomed my potential more accurately than I could at the time. Although I have often disagreed with him on matters of taste and style, I can't dispute that he is something of a genius.
719:
it. I thought of it and I kept it, and what came next was what I thought of next. I don't believe Jimmy meant to absolve me of all responsibility for my work, but I got the impression that wild intuitive guessing was all I had to do to make art. I never threw anything away. I remember distinctly Jimmy's saying, "If you don't like it now, you can get to like it. If you can't get to like it, who says you have to like it?" The point of it was to demystify art and free the artist from the limitations of his own taste. There was a great sense of liberation that stemmed from
706:'s – with their decentralized use of space, collage formats, disconnected structures but balletic carriage – but his method was based on intuition rather than chance. Waring abandoned narrative and dramatic structure in the mid-1950s, creating atmospheres (often nostalgic) referring lovingly and archly to variety dancing and ballet, and mixing musical as well as dancing styles (including ordinary and idiosyncratic gestures). Waring was a gentle humorist, sometimes parodying other dance genres, often close to
745:
many years before the advent of the Judson; others were formulated in the years that followed, as he continued to make dances and observe the art of his colleagues. Always, his resolution called forth an exchange of ideas, and a belief in the reciprocity of the one who makes art and the one who actively returns the favor. In his words: "Do we make dancing spectacular ourselves, in the way that we watch? Does our pleasure depend on our generosity? Is pleasure a meeting of generosities? Who's counting the moments?
758:
772:
477:
a place for experimentation rather than a formal performance space – and critical also of some of the work presented there which, according to Yvonne Rainer, he found "dry and boring." Waring's own aesthetic was more inclined to be romantic, rather than formally objective, as much of the work by the Judson dancers was.
259:, taking from these sources what interested him and mixing them together. The style of his dances varied according to the time and his interests, and could be formal and abstract or theatrical and romantic, influenced not only by the choreography of the moment, but also by the theatricality of the past:
735:
Jimmy had an amazing gift which – because I was put off by the mixture of camp and balleticism in his work – I didn't appreciate until much later. His company was always full of misfits – they were too short or too fat or too uncoordinated or too mannered or too inexperienced by any
476:
performances, although Waring, who was 10 years older than the Judson dancers, was never a "member". Still, several of his pieces were presented at Judson concerts. Waring was supportive of the Judson Church dance movement, although he was critical of the church as a venue – seeing it more as
318:
were not critically successful, and did not draw a significant audience, even though they were free. In 1954, Waring began presenting works with his own company in annual concerts, continuing to do so until 1969. He also choreographed for other companies and performers, including
Manhattan Festival
744:
In making dance, in teaching technique and composition, in writing and conversation, James Waring asked many questions. Some were shared by the dancers of the Judson Dance
Theater in their choreographic explorations; others were integral to his singular sensibility. Some questions he had asked for
718:
Jimmy was an education for me, as he was for most people who came in contact with him. ... taught me about art and developed my taste ... Jimmy's approach was ... whimsical. His way of working led you – or led me at any rate – to accept any idea as valid simply because I'd thought of
174:
According to Leslie Satin, although Waring was a seminal influence on modern and post-modern dance in New York City, his position in both the mainstream and the avant-garde was somewhat tentative, primarily because of the fluidity of Waring's style and the variety of his interests, which sometimes
678:
Waring did not want his dancers to act or emote, as this was conventionally understood. Although he favored "florid and dramatic gestures" in his pieces, the emotional or dramatic value was to come from clear and precise performance of the choreography, which included gestures, vocalizations and
46:
406:(1963) was a spectacle which included "a white balloon tree, live geese, and potatoes, and intermittent dance sequences and events: a piece that 'overran its bounds in all directions'." It was set to any music that was "big, classical, and perversely overwhelming."
242:
In 1946, Waring presented the first of the over 135 original works he would create over the course of his career, "Luther
Burbank in Santa Rosa", at the Halprin-Lathrop Studio Theater. Other works he showed during this period were based on or influenced by Japanese
587:...xquisite ... oom was found for the small gesture he loved so much. The poetry of words found its perfect counterpart in Jimmy's direction and clarification. The characters posed on a sea of words, and they were serene or compassionate as the text calls for.
500:. He also collaborated with visual artists who created sets or costumes for his pieces – although he often did the costumes himself. In fact he designed and made many costumes for his colleagues as well, including
461:. Aside from the dancers who passed through his pieces and classes in New York City, others were influenced by Waring during the 10 years he spent teaching at Indian Hill, which was a summer arts camp in
295:", poetic, or postmodern? Even people who liked Waring's work – including dancers he had taught and influenced – disagreed with each other about whether his pieces were a "mishmash" or not.
642:, shot in a huge warehouse with a single spotlight, for which 600 feet (180 m) of film were exposed, six 100 feet (30 m) rolls, each showing the haircutting from a different angle.
480:
Experimental composers that Waring worked with included John
Herbert McDowell – who himself choreographed a piece in honor of Waring at one of the Judson Dance Theater concerts –
155:, based in New York City from 1949 until his death in 1975. He was a prolific choreographer and teacher. He has been called "one of the most influential figures in the New York
723:'s championing of this philosophy, and Jimmy, among others, was establishing alternatives to the kind of teaching that had dominated modern-dance composition up until then.
679:
facial expressions. The performer was not to expand these aspects of the dance from their own internal interpretations and analysis. On the other hand, according to
575:, also known as the American Theater for Poets; his plays were also presented there and at the Judson Poets Theater. Waring also directed plays by other writers at the
687:
and others, Waring trusted his performers to put across the movement as clearly as possible and with conviction, thus making the material real to the audience.
374:(1968), which was performed in the style of the turn of the 20th century, a "small masterpiece", and pointed out that Waring was fond of absurd titles such as
331:, and the 5 x 2 Company of Bruce Becker and Jane Kosminsky. He disbanded his company in 1975, shortly before his death, but, in 1974, his male dancers formed
298:
Waring was among a group of choreographers and dancers in New York who, in 1951, created Dance
Associates, a co-operative which included Aileen Passloff,
239:
suggests that Waring's extensive knowledge of dance history played an important role in his work; Waring's dances became more balletic over time.
159:
in the late fifties and early sixties", "one of dance's great eccentrics", "a focal point for dance experimentation before the existence of the
993:
472:– in whose building he held his composition class – in which his students presented their works; these were a precursor to the
175:
cut against the grain of both worlds. His use of "low" material from the popular arts also worked against his reputation in both contexts.
1227:"Andy Warhol Timeline: June 10, 1963: Freddy Herko, Jill Johnston, Ray Johnson and Robert Rauschenberg Participate in the Pocket Follies"
167:
choreographer in the late 1950s and 1960s". Waring's collage style of building dance works influenced the development of the avant-garde
291:
of their original sources, or if he had indeed created something new and different from the raw material they provided; was his work "
1475:
552:", which were free-form inter-disciplinary multi-media events, each one unique, and Waring encouraged this new form; he aided
1414:
332:
571:
Waring was a writer as well. He wrote poetry, plays, essays and dance criticism, and was one of the founders in 1961 of the
314:, actor Alix Rubin and others. Although Dance Associates garnered a significant amount of work, its annual concerts at the
434:
409:
Numerous dancers who went on to prominence danced in Waring's company, including Toby Armour, Joan Baker, Richard Colton,
1455:
1430:
1156:
663:
1080:
560:
benefit in 1963 at the Pocket
Theater, which featured many dancers associated with Waring as well as George Brecht,
1470:
1450:
655:
1010:
680:
236:
235:. Waring was very attracted to ballet and intrigued by its complex history and sensibility, and dance historian
1445:
1408:
285:
all played a part in Waring's work. The question then arises if Waring's choreographic collages were simply a
714:
Choreographer David Gordon, who first danced professionally in Waring's company, describes Waring's process:
615:, among other poets and writers. During this period, he and other dancers worked on the literary newsletter
888:
430:
307:
196:
462:
1390:
216:
1285:"Andy Warhol Timeline: May 1963: The 'Billy Linich Show' Takes Place as Part of the Yam Festival?""
667:
572:
1117:
Satin (2003), p.65, quoting Marks, Marcia (March 1963) "At the
Hallelujah Gardens" (review)
806:
269:
24:
1465:
1460:
1371:
Satin (2003), p.75, quoting Waring, James (1972) "'Who's
Counting"' Or 'Over the Rainbow'"
604:
418:
303:
160:
8:
1265:(April 1978) "James Waring at Judson: A Chronology" Judson Arts Program Archive Committee
565:
320:
319:
Ballet – which he was instrumental in founding, the
Netherlands Dance Theater, the
188:
69:
1415:"James Waring and the Judson Dance Theater: Influences, Intersections, and Divergences"
997:
596:
336:
299:
256:
204:
20:
16:
American dancer, choreographer, costume designer, director, playwright, poet and artist
1426:
1404:
1152:
819:
684:
485:
458:
252:
164:
703:
493:
422:
323:, as well as Toby Armour's New England Dinosaur, the companies of Raymond Johnson,
232:
140:
136:
568:, and two months of weekly "Events and Entertainments" at the same venue in 1964.
1315:
662:
on
December 2, 1975, at the age of 53. At the time he was on the faculty of the
592:
410:
324:
248:
1343:
1226:
1119:
805:, and I suspect the reason that I liked it was that it reminded me a little of
798:
777:
600:
576:
556:
in putting on one of his first ones. Waring also organized events such as the
541:
525:
489:
469:
426:
328:
1439:
1373:
1355:
1298:
1221:
763:
624:
561:
513:
497:
481:
473:
454:
450:
278:
212:
200:
184:
152:
132:
98:
87:
28:
856:
1338:
707:
612:
608:
553:
537:
529:
505:
414:
311:
292:
282:
228:
220:
208:
108:
191:
at the age of 17. He was exposed to numerous kinds of dancing, including
1418:
1262:
1144:
1076:
695:
635:
620:
580:
533:
509:
501:
446:
438:
315:
224:
156:
1284:
623:, and Waring's "laughter poem for ray johnson" (1960) was published in
549:
517:
442:
264:
260:
144:
1219:
Staff (June 6, 1963) "'Pocket Follies' Monday Aids Performance Arts"
720:
659:
545:
521:
399:
340:
168:
896:
287:
1088:
Mimeo Mimeo: Artists' Books, Typography, and the Mimeo Revolution
112:
823:
757:
274:
192:
128:
116:
45:
651:
771:
548:. Some of these artists were involved in the creation of "
508:, and Aileen Passloff. Waring worked at various times with
148:
994:"James Waring, Choreographer Of Modern Dance, Dead at 53"
244:
425:
studied with Waring or danced in his company, including
1423:
Reinventing Dance in the 1960s: Everything Was Possible
468:
In 1959 and 1960, Waring organized performances at the
231:, and Anatole Vilzak, and also took some classes with
1403:. New York: New American Library. pp. 215–230.
753:
207:
of Raoul Pausé. Later, after serving in the Army in
666:. Fittingly, his memorial service was held at the
1437:
1425:University of Wisconsin Press. pp. 51–80
1341:(November 29, 1982) "Profiles: Making Work",
417:. Later dancers who would go on to found the
251:and primitive art, as well as the ballets of
199:with Harold Christensen and his brother, the
19:For the American educator and physician, see
127:(November 1, 1922 - December 2, 1975) was a
339:dance ensemble in which the men perform as
1401:The Rise and Fall and Rise of Modern Dance
1248:
1246:
1206:
1204:
1176:
1174:
1149:Terpsichore in Sneakers: Post-Modern Dance
822:spoke of Waring's quarter-inch (0.635 cm)
579:and at the Judson. As a theatre director,
370:. The critic Don McDonagh called Waring's
44:
966:
964:
931:
929:
1140:
1138:
954:
952:
950:
884:
882:
880:
878:
852:
850:
848:
846:
844:
842:
797:In fact, Waring said "The only dance by
1268:
1243:
1201:
1192:
1171:
988:
986:
984:
982:
980:
978:
976:
1438:
961:
926:
919:
917:
915:
913:
1135:
1061:
947:
907:McDonagh (1971) quoted in Chin (2010)
875:
839:
333:Les Ballets Trockadero de Monte Carlo
171:which were staged in the late 1950s.
973:
731:, Yvonne Rainer wrote about Waring:
673:
1013:, Cunningham's archivist (7/9/2013)
910:
634:Waring makes a brief appearance in
183:Waring's training began in 1939 in
13:
891:. "James Waring: A Rememberence".
402:", was five seconds long, but his
346:Notable among Waring's works were
178:
23:. For the American physician, see
14:
1487:
992:McDonagh, Don (December 4, 1975)
664:University of Maryland, Baltimore
1395:MAP: Media, Archive, Performance
1081:"James Waring and Dance Company"
770:
756:
1365:
1349:
1332:
1323:
1308:
1292:
1277:
1255:
1234:
1213:
1183:
1162:
1126:
1111:
1102:
1093:
1070:
1052:
1043:
1034:
1025:
1016:
1003:
812:
791:
1391:"Mistaken Identities: Part II"
938:
901:
866:
702:dances sometimes looked like
396:Imperceptible Elongation No. 1
203:with Gertrude Schurr, and the
27:. For the American boxer, see
1:
1476:20th-century American dancers
1009:Personal correspondence with
749:
650:Waring died from a malignant
398:, which he referred to as a "
376:Pumpernickle and Circumstance
310:, David Vaughn, dance writer
1261:Satin (2003), p.60, quoting
7:
197:San Francisco Ballet School
163:", and "the quintessential
10:
1492:
1456:American theatre directors
1151:Boston: Houghton Mifflin.
861:Oxford Dictionary of Dance
463:Stockbridge, Massachusetts
18:
698:describes Waring's work:
619:, edited by di Prima and
404:At the Hallelujah Gardens
360:Variations on a Landscape
217:School of American Ballet
104:
94:
76:
55:
43:
36:
801:I ever really liked was
645:
382:. Other titles included
1471:American modern dancers
1451:American choreographers
958:McDonagh (1971), p. 216
893:Performing Arts Journal
872:McDonagh (1971), p. 215
692:Terpsichore in Sneakers
1240:Satin (2003), pp.58-59
1168:Satin (2003), pp.51-52
1099:Satin (2003), pp.64-66
1067:Satin (2003), pp.67-72
1058:Satin (2003), pp.59-60
1040:Satin (2003), pp.52-53
1022:Satin (2003), pp.55-56
944:Satin (2003), pp.63-64
747:
738:
725:
712:
668:Judson Memorial Church
589:
573:New York Poets Theatre
352:Dances before the Wall
1446:American male dancers
1413:Satin, Leslie (2003)
1399:McDonagh, Don (1971)
1362:quoted in Chin (2010)
809:." Satin (2003), p.51
807:Radio City Music Hall
742:
740:Leslie Satin writes:
733:
716:
700:
585:
372:At the Café Fleurette
25:James Johnston Waring
826:. Satin (2003), p.68
656:Mount Sinai Hospital
445:, Gretchen MacLane,
419:Judson Dance Theater
304:New York City Ballet
161:Judson Dance Theater
1389:Chin, Daryl (2010)
1305:. Heiner Friedrich.
1225:, in Comenas, Gary
803:The Life of the Bee
785:Informational notes
611:, Alan Marlowe and
591:Waring worked with
566:Robert Rauschenberg
388:Little Kootch Piece
321:Pennsylvania Ballet
255:and the dancing of
247:drama, the work of
70:Alameda, California
1360:Work 1961–73
1329:Satin (2003), p.71
1274:Satin (2003), p.58
1252:Satin (2003), p.57
1210:Satin (2003), p.60
1198:Satin (2003), p.59
1189:Satin (2003), p.54
1180:Satin (2003), p.62
1132:Satin (2003), p.69
1108:Satin (2003), p.65
1049:Satin (2003), p.63
1031:Satin (2003), p.64
998:The New York Times
970:Satin (2003), p.55
935:Satin (2003), p.52
729:Work 1961–73
597:Maria Irene Fornes
300:Tanaquil Le Clercq
270:commedia dell'arte
257:Alexandra Danilova
205:interpretive dance
21:James N. H. Waring
820:Valda Setterfield
685:Valda Setterfield
674:Style and process
617:The Floating Bear
486:Malcolm Goldstein
459:Valda Setterfield
394:(1970). Waring's
364:Sinfonia semplice
316:Amato Opera House
306:, Marian Sarach,
253:George Balanchine
165:Greenwich Village
122:
121:
1483:
1378:
1369:
1363:
1353:
1347:
1336:
1330:
1327:
1321:
1316:"Haircut (1963)"
1312:
1306:
1296:
1290:
1281:
1275:
1272:
1266:
1259:
1253:
1250:
1241:
1238:
1232:
1217:
1211:
1208:
1199:
1196:
1190:
1187:
1181:
1178:
1169:
1166:
1160:
1142:
1133:
1130:
1124:
1115:
1109:
1106:
1100:
1097:
1091:
1074:
1068:
1065:
1059:
1056:
1050:
1047:
1041:
1038:
1032:
1029:
1023:
1020:
1014:
1007:
1001:
990:
971:
968:
959:
956:
945:
942:
936:
933:
924:
921:
908:
905:
899:
886:
873:
870:
864:
854:
827:
816:
810:
795:
780:
775:
774:
766:
761:
760:
494:Richard Maxfield
488:, Hy Gubernick,
423:postmodern dance
392:The Cobra Ballet
233:Merce Cunningham
211:, he studied in
201:Graham technique
141:theatre director
137:costume designer
83:
80:December 2, 1975
66:November 1, 1922
65:
63:
48:
34:
33:
1491:
1490:
1486:
1485:
1484:
1482:
1481:
1480:
1436:
1435:
1381:
1370:
1366:
1354:
1350:
1337:
1333:
1328:
1324:
1313:
1309:
1297:
1293:
1282:
1278:
1273:
1269:
1260:
1256:
1251:
1244:
1239:
1235:
1218:
1214:
1209:
1202:
1197:
1193:
1188:
1184:
1179:
1172:
1167:
1163:
1143:
1136:
1131:
1127:
1116:
1112:
1107:
1103:
1098:
1094:
1075:
1071:
1066:
1062:
1057:
1053:
1048:
1044:
1039:
1035:
1030:
1026:
1021:
1017:
1008:
1004:
991:
974:
969:
962:
957:
948:
943:
939:
934:
927:
922:
911:
906:
902:
895:v.5 n.2 (1981)
887:
876:
871:
867:
863:via Answers.com
855:
840:
831:
830:
817:
813:
796:
792:
776:
769:
762:
755:
752:
676:
648:
583:thought he was
411:Arlene Rothlein
249:Edgar Allan Poe
181:
179:Life and career
115:
111:
90:
85:
81:
72:
67:
61:
59:
51:
39:
32:
17:
12:
11:
5:
1489:
1479:
1478:
1473:
1468:
1463:
1458:
1453:
1448:
1434:
1433:
1411:
1397:
1380:
1379:
1364:
1356:Rainer, Yvonne
1348:
1344:The New Yorker
1331:
1322:
1314:Comenas, Gary
1307:
1299:Young, LaMonte
1291:
1283:Comenas, Gary
1276:
1267:
1254:
1242:
1233:
1212:
1200:
1191:
1182:
1170:
1161:
1134:
1125:
1120:Dance Magazine
1110:
1101:
1092:
1069:
1060:
1051:
1042:
1033:
1024:
1015:
1002:
972:
960:
946:
937:
925:
909:
900:
889:Vaughan, David
874:
865:
857:"James Waring"
837:
829:
828:
811:
799:Doris Humphrey
789:
788:
782:
781:
778:theatre portal
767:
751:
748:
675:
672:
647:
644:
601:Diane Di Prima
577:Living Theatre
558:Pocket Follies
542:Robert Whitman
526:Robert Indiana
490:Terry Jennings
470:Living Theatre
427:Lucinda Childs
329:Violette Verdy
180:
177:
120:
119:
106:
105:Known for
102:
101:
96:
92:
91:
86:
84:(aged 53)
78:
74:
73:
68:
57:
53:
52:
49:
41:
40:
37:
15:
9:
6:
4:
3:
2:
1488:
1477:
1474:
1472:
1469:
1467:
1464:
1462:
1459:
1457:
1454:
1452:
1449:
1447:
1444:
1443:
1441:
1432:
1431:0-299-18014-X
1428:
1424:
1420:
1416:
1412:
1410:
1406:
1402:
1398:
1396:
1392:
1388:
1387:
1386:
1385:
1376:
1375:
1374:Ballet Review
1368:
1361:
1357:
1352:
1346:
1345:
1340:
1339:Croce, Arlene
1335:
1326:
1320:
1317:
1311:
1304:
1300:
1295:
1289:
1286:
1280:
1271:
1264:
1258:
1249:
1247:
1237:
1231:
1228:
1224:
1223:
1222:Village Voice
1216:
1207:
1205:
1195:
1186:
1177:
1175:
1165:
1158:
1157:0-395-28212-8
1154:
1150:
1146:
1141:
1139:
1129:
1122:
1121:
1114:
1105:
1096:
1089:
1085:
1084:Floating Bear
1082:
1078:
1073:
1064:
1055:
1046:
1037:
1028:
1019:
1012:
1011:David Vaughan
1006:
1000:
999:
995:
989:
987:
985:
983:
981:
979:
977:
967:
965:
955:
953:
951:
941:
932:
930:
920:
918:
916:
914:
904:
898:
894:
890:
885:
883:
881:
879:
869:
862:
858:
853:
851:
849:
847:
845:
843:
838:
836:
835:
825:
821:
815:
808:
804:
800:
794:
790:
787:
786:
779:
773:
768:
765:
764:poetry portal
759:
754:
746:
741:
737:
732:
730:
724:
722:
715:
711:
709:
705:
699:
697:
693:
688:
686:
682:
681:David Vaughan
671:
669:
665:
661:
657:
653:
643:
641:
640:Haircut No. 1
638:'s 1963 film
637:
632:
630:
626:
625:LaMonte Young
622:
618:
614:
610:
606:
605:Robert Duncan
602:
598:
594:
588:
584:
582:
578:
574:
569:
567:
563:
562:Jill Johnston
559:
555:
551:
547:
543:
539:
535:
531:
527:
523:
519:
515:
514:George Brecht
511:
507:
503:
499:
498:Marga Richter
495:
491:
487:
483:
482:Philip Corner
478:
475:
474:Judson Church
471:
466:
464:
460:
456:
455:Yvonne Rainer
452:
451:Meredith Monk
448:
444:
440:
436:
432:
428:
424:
420:
416:
412:
407:
405:
401:
397:
393:
389:
385:
381:
380:Tomato Exposé
377:
373:
369:
365:
361:
357:
353:
349:
344:
342:
338:
334:
330:
326:
322:
317:
313:
309:
305:
301:
296:
294:
290:
289:
284:
280:
276:
272:
271:
266:
262:
258:
254:
250:
246:
240:
238:
237:David Vaughan
234:
230:
226:
222:
218:
214:
213:New York City
210:
206:
202:
198:
194:
190:
186:
185:San Francisco
176:
172:
170:
166:
162:
158:
154:
153:visual artist
150:
146:
142:
138:
134:
133:choreographer
130:
126:
118:
114:
110:
107:
103:
100:
97:
93:
89:
88:New York City
79:
75:
71:
58:
54:
47:
42:
35:
30:
29:James Warring
26:
22:
1422:
1419:Banes, Sally
1400:
1394:
1384:Bibliography
1383:
1382:
1372:
1367:
1359:
1351:
1342:
1334:
1325:
1319:Warhol Stars
1318:
1310:
1303:An Anthology
1302:
1294:
1288:Warhol Stars
1287:
1279:
1270:
1263:Carmines, Al
1257:
1236:
1230:Warhol Stars
1229:
1220:
1215:
1194:
1185:
1164:
1148:
1145:Banes, Sally
1128:
1118:
1113:
1104:
1095:
1087:
1083:
1077:Jones, LeRoi
1072:
1063:
1054:
1045:
1036:
1027:
1018:
1005:
996:
940:
903:
892:
868:
860:
833:
832:
814:
802:
793:
784:
783:
743:
739:
734:
728:
726:
717:
713:
701:
691:
689:
677:
649:
639:
633:
629:An Anthology
628:
616:
613:Kenneth Koch
609:Paul Goodman
593:Frank O'Hara
590:
586:
570:
557:
554:Allen Kaprow
538:Robert Watts
530:Jasper Johns
506:Remy Charlip
479:
467:
431:David Gordon
415:Ruth Sobotka
408:
403:
395:
391:
390:(1955), and
387:
383:
379:
375:
371:
367:
363:
359:
355:
351:
347:
345:
325:Ze'eva Cohen
312:Edward Denby
297:
286:
283:silent films
268:
241:
229:Antony Tudor
221:Anna Halprin
209:World War II
182:
173:
125:James Waring
124:
123:
109:modern dance
82:(1975-12-02)
38:James Waring
1466:1975 deaths
1461:1922 births
923:Chin (2010)
696:Sally Banes
636:Andy Warhol
621:LeRoi Jones
581:Al Carmines
534:Larry Poons
510:Julian Beck
502:Twyla Tharp
447:Michael Mao
439:Deborah Hay
435:Sally Gross
421:and create
308:Paul Taylor
277:, and both
225:Louis Horst
219:, and with
157:avant-garde
95:Nationality
1440:Categories
1409:0451611179
750:References
704:Cunningham
550:Happenings
518:Red Grooms
443:Fred Herko
341:ballerinas
265:music hall
261:vaudeville
169:Happenings
145:playwright
62:1922-11-01
1086:no.19 in
834:Citations
721:John Cage
660:Manhattan
546:John Wulp
522:Al Hansen
400:Happening
302:from the
897:abstract
386:(1953),
384:Burlesca
368:Amoretti
358:(1961),
356:Dromenon
354:(1958),
350:(1955),
337:travesty
288:pastiche
273:and the
263:and the
99:American
50:(c.1965)
1377:4. no.2
1301:(1963)
1147:(1980)
1079:(1962)
818:Dancer
727:In her
348:Phrases
279:musical
215:at the
195:at the
189:Oakland
113:theatre
1429:
1421:(ed.)
1407:
1155:
564:, and
544:, and
496:, and
457:, and
413:, and
366:, and
327:, and
275:circus
193:ballet
151:, and
129:dancer
117:poetry
824:pliés
652:tumor
646:Death
1427:ISBN
1405:ISBN
1153:ISBN
1123:p.59
708:camp
378:and
335:, a
293:camp
281:and
187:and
149:poet
77:Died
56:Born
1417:in
1393:on
1159:p.8
859:in
690:In
658:in
654:in
627:'s
245:Noh
1442::
1358:.
1245:^
1203:^
1173:^
1137:^
1090:#8
975:^
963:^
949:^
928:^
912:^
877:^
841:^
694:,
683:,
670:.
631:.
607:,
603:,
599:,
595:,
540:,
536:,
532:,
528:,
524:,
520:,
516:,
512:,
504:,
492:,
484:,
465:.
453:,
449:,
441:,
437:,
433:,
429:,
362:,
343:.
267:,
227:,
223:,
147:,
143:,
139:,
135:,
131:,
710:.
64:)
60:(
31:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
