|
David Gordon is a dancer, choreographer, writer, actor and theatrical director prominent in the world of postmodern dance and performance. Based in New York City, Gordon's work has been seen in major performance venues across the United States, Europe, South America and Japan, and has appeared on television on PBS's ''Great Performances'' and ''Alive TV'', and the BBC and Channel 4 in Great Britain. Twice a Guggenheim Fellow (1981 and 1987), Gordon has been a panelist of the dance program panels of the National Endowment for the Arts and the New York State Council on the Arts, and chairman of the former.〔 He is a member of the Actors Studio, and a founder of the Center for Creative Research. Gordon is married to Valda Setterfield, a dancer and actress born in England, who was for 10 years a featured soloist with the Merce Cunningham Dance Company.〔 She appears regularly in Gordon's work, and has been referred to as his "muse".〔Friedman, Lisa. "David Gordon: A Cult Choreographer Takes Center Stage". ''Dial'' (August 1986)〕 Their son, playwright and actor Ain Gordon, has collaborated with Gordon on a number of projects. ==Style and process== Like most postmodernists in dance, Gordon employs pedestrian movement in his work,〔〔Jowitt, Deborah: Gordon makes polished patterns out of shambling, plebian movement."'Don't You Wonder What He's Thinking?' 'No'" ''Village Voice'' (May 29, 1978)〕 but he is notable for his frequent use of spoken dialogue, even in "dance" pieces, as well as his Brechtian rejection of illusion coupled with an interest in theatricality.〔Banes, Sally: In the debate on theatricality among post-Cunningham choreographers, Gordon stands in favor of spectacle. But he uses spectacular moments and glamorous touches cunningly, often intensifying them until a gap between the movement relationships and their extravagant theatrical overlay throws the movement into high relief."David Gordon, or, The Ambiguities" ''Village Voice'' (May 1, 1978)〕 He is quoted as saying "I () to use mundane means to a magical end."〔Croce, Arlene. "Profiles: Making Work". ''The New Yorker'' (November 29, 1982)〕 A contrarian by nature, Gordon creates works which are founded on structural clarity, which he then undercuts: "I always find some way to screw up a fabulously straightforward structure," Gordon has said, "I can't seem to avoid that."〔Carroll, Noël. "Frieze Frame" ''Soho Weekly News'' (December 6, 1979)〕 Another of Gordon's hallmarks is his fondness for recycling previously used materials, both choreographic and physical.〔 According to critic Arlene Croce: "Gordon is a collagist. Many of his dances and set pieces ... can be lifted out of context and combined with new material to make a new impression."〔Croce, Arlene "Dancing: Life Studies" ''The New Yorker'' (June 18, 1984)〕 This is particularly true with his use of gestures, which when seen in one context can appear meaningless or arbitrary, but which will pick up meaning and appear as deliberate when, for instance, accompanied by music or text.〔 According to Gordon: Movement is ambiguous until you place it against some background. ... I use a great many repetitions with variations to make the ambiguities of movement apparent. Exploring the alternate possible meanings of gesture is one of my major concerns.〔 Gordon's pieces frequently reference films and other aspects of popular culture,〔 and are often autobiographical, or at least apparently so, with the distinction between true facts and fictionalized autobiography deliberately obscured.〔Smith, Amanda. "Autobiography and the Avant-Garde". ''Dancemagazine'' (January 1985)〕 His pieces often employ humor, sometimes in self-deprecation,〔Reiter, Susan. "Man in Demand" ''Ballet News'' (May 1985)〕 and he has been called one of the few "comic spirits" produced by the postmodern dance movement.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「David Gordon (choreographer)」の詳細全文を読む スポンサード リンク
|