The Radio 3 Boards Forum from myforum365.com
09:52:10, 03-12-2008 *
Welcome, Guest. Please login or register.

Login with username, password and session length
News: Whilst we happily welcome all genuine applications to our forum, there may be times when we need to suspend registration temporarily, for example when suffering attacks of spam.
 If you want to join us but find that the temporary suspension has been activated, please try again later.
 
   Home   Help Search Login Register  

The Radio 3 Boards > The Radio 3 Boards > Radio 3 Specialist Programmes > New Music > Reich on dance
Pages: [1]
« previous next »
  Print  
Author Topic: Reich on dance  (Read 342 times)
harmonyharmony
*****
Posts: 4080



WWW
« on: 11:36:59, 14-03-2007 »
Quote
Serious dancers who now perform with pulseless music or with no music at all will be replaced by young musicians and dancers who will re-unite rhythmic music and dance as a high art form.
Steve Reich, 'Some Optimistic Predictions about the Future of Music (1970)' from Writings on Music
I find this quote a little disturbing. I, personally, feel that an optimistic prediction might be that all dancers can be serious or not if they choose (interesting that in this context, to some extent at least, 'serious' could be read as a euphemism for 'old') and that such dancers will choose to perform with rhythm or not depending on their passion.
Taking into account the time at which these predictions were written, I'm still a little disturbed by the use of one word: 'replaced'. I know I'm reading a lot into this, but does that sound sinister to anyone else?
Logged
'is this all we can do?'
anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965)
http://www.myspace.com/itensemble
TimR-J
Guest
« Reply #1 on: 12:35:07, 14-03-2007 »
It doesn't sound sinister, but it does ring slightly odd to me: 'will be replaced' sounds like postwar European utopianism, just 15 years too late.
Logged
George Garnett
*****
Gender: Male
Posts: 3855
« Reply #2 on: 16:44:31, 14-03-2007 »
Quote from: harmonyharmony on 11:36:59, 14-03-2007
an optimistic prediction might be.....that such dancers will choose to perform with rhythm or not depending on their passion.

A rather pessimistic prediction if you happen to be a choreographer though Wink
Logged
reiner_torheit
****
Gender: Male
Posts: 386
« Reply #3 on: 17:24:51, 14-03-2007 »
I remain convinced that when people study choreography, they have their ears blocked with thick gobbets of tar to render them immune to all musical sounds (and all pleas from the Music Director).

On Saturday we took a first-time visitor to Moscow out for the evening, who had said they wanted to see "classic Russian ballet" whilst in town for a very short time...  so we ended-up at Tchaikovsky's SLEEPING BEAUTY (Moscow City Ballet), to Petipa's long-established choreography for the work. 

I was just staggered how massive gestures in the music could pass unnoticed in the choreography of the piece?  The worst omission seemed to be towards the end of Act One,  where the Bad Fairy is cursing Aurora to one hundred years of sleep...  there is a second where the entire orchestra stops for a colossal crash on the gong.  But on stage, nothing happened at all??  I can't believe Tchaikovsky didn't envisage SOMETHING with that gong-stroke?

So if choreographers would start taking at least SOME notice of what's going on in the music, instead of trying to set a "generalised mood for this number", it would be very welcome!! 

It was also the worst-lit show I've seen in years - not even a scheme-change for the evil spell?! -  but the choreographer can't be blamed for that Wink
Logged
They say travel broadens the mind - but in many cases travel has made the mind not exactly broader, but thicker.
Pages: [1]
  Print  
« previous next »
 
Jump to: