David Gordon (choreographer) - Wikipedia. David Gordon (born July 1. American dancer, choreographer, writer, 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 (1. 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. Many of his dances and set pieces .. 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. He grew up on the Lower East Side and in Coney Island and graduated from Seward Park High School. Afterwards, he received a BFA from Brooklyn College. They also participated in the . I had discovered that publicly performing my own work placed me in an exceedingly vulnerable position emotionally and physically, and I wanted none of it. I believe now that I was basically uncommitted to my work and unable to take responsibility publicly for my decisions. I had worked mainly for the positive response of my peers and of an audience, not gearing my work towards that response but expecting it as the dividends of having worked. When the audience and my peers turned on me, I picked up my marbles and went home. I just decided to stop making work. From her I found out what it is to be an artist . Then, from working with Trisha Brown in the Grand Union, I learned how to edit, how to boil a thing down to its essence. Jimmy's approach was much more whimsical. MARK PELLINGTON is a filmmaker based in Los Angeles. A native of Baltimore. TV + Series; Start selling; Upload. Staff Picks; Join or log in; Watch; Upload; On. David Gordon (born July 14, 1936. Ain and David Gordon collaborated again on the book and direction for Punch & Judy Get Divorced. Ted Hope Net Worth and valuable HIDDEN assets. TV Movie executive producer. Punch and Judy Get Divorced: 1992: TV Movie producer: Simple Men: 1992. 1992: Punch and Judy Get Divorced: 1997. Mark Pellington at the Internet Movie Database; Mark Pellington Official. Home > Movie Stars > P > Mark Pellington. Punch And Judy Get Divorced for the PBS series Alive TV. Punch and Judy Get Divorced (1992) Age Isn't Everything (1991. Download movie Punch and Judy Get Divorced for free . Punch and Judy Get Divorced (TV film) (1992) Punch and Judy Get Divorced (1992 - film tv) United States of Poetry - miniserie tv; Homicide. EN) Mark Pellington, in Internet Movie Database, IMDb.com. His way of working led you . 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 can't get to like it, who says you have to like it? There was a great sense of liberation that stemmed from John Cage'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. Gordon formed the Pick Up Performance Company that year . His work during this period. Ideal mates, ideal opposites, yin and yang, male and female, total communication. In doing so, he utilizes the contents of thrift stores and makes use of mundane materials such as foam core and gaffers tape. Gordon's hand- made score for One Part of The Matter . When she returned, they worked together on the transitions between the poses. Reel (1. 98. 2),Trying Times (1. Many of Gordon's pieces from this period had their premiere at David White's Dance Theater Workshop. Gordon also made work for other companies during this time, including: Grote Ogen (. Murder later became part of David Gordon's Made in USA, a television program commissioned by WNET and Great Performances in 1. Gordon received a Primetime Emmy Award. For the Brooklyn Academy of Music (BAM) in 1. Gordon choreographed Act III, the dance section, of The Photographer, a multi- media piece about Eadweard Muybridge with music by Philip Glass, in which he incorporated Setterfield's earlier solo One Part of the Matter. Also, he directed Renard, a one- act chamber opera- ballet by Igor Stravinsky, for the Spoleto Festival USA in 1. The Mysteries and What's So Funny? It was written, directed and choreographed by Gordon with music again by Philip Glass and visual design by Red Grooms. The script was published in Grove New American Theater. The cast for The Family Business consisted of both Gordons, father and son, and Setterfield. In 1. 99. 4, for the American Repertory Theatre (ART) in Cambridge, Massachusetts and the American Music Theatre Festival (AMTF) in Philadelphia, Gordon directed and choreographed an original musical, Shlemiel the First, adapted by Robert Brustein, from the stories of Isaac Bashevis Singer, and set to traditional klezmer music with new lyrics by Arnold Weinstein. The show also toured throughout Florida and in Stamford, Connecticut, and was re- mounted in 2. Montclair State University's Alexander Kasser Theatre by Peak Performances. This production was re- mounted by Theatre for a New Audience in Manhattan, New York City in late 2. New York University's Skirball Center for the Performing Arts, in association with the National Yiddish Theatre Folksbiene. The piece began in 1. KTCA for their PBS series Alive TV, and had a second life as a dance piece, set to music by Carl Stalling, for Barishnikov's White Oak Dance Project in 1. In 1. 99. 9, the Gordons worked together once more, this time on a musical about women directors in the early days of motion pictures, The First Picture Show, with music by Jeanine Tesori, for ACT in San Francisco and the Mark Taper Forum in Los Angeles. In 2. 00. 0, he was commissioned by ACT to write an adaptation of Kenneth Grahame's The Wind in the Willows, with music by Gina Leishman, which was called Some Kind of Wind in the Willows. This production was workshopped but was never produced. This production received an American Masterpiece Grant from the National Endowment for the Arts Dance Program. In 2. 01. 1 it was revived and performed at Montclair State University in New Jersey, Columbia College in Chicago and the University of Albany, New York. Gordon has also adapted, directed and choreographed a number of classic theatre works: Eug. The piece was workshopped at Cornell University. Luigi Pirandello's Six Characters in Search of an Author, plus two other short pieces by the writer, became the basis of Gordon's Beginning of the End of the.., which played for the month of June 2. Joyce So. Ho, in Manhattan. The piece was part of the series Platform 2. Judson Now, connected to the celebration of the 5. Judson Dance Theater performances. The donation is to be marked by a series of workshop performances called LIVE ARCHIVEOGRAPHY, presented at the library's Bruno Walter Auditorium. Gordon's ideas seem dressed up in opera- house trappings that hang like ill- fitting clothes. The piece was extensively workshopped and performed in San Francisco, at the American Conservatory Theatre, and in Los Angeles at the Mark Taper Forum, which had commissioned the piece. After the success of Shlemiel the First in L. A. Occasionally wonderful and never dull, 'The First Picture Show' lacks a certain urgency in its storytelling. Some years later, in response to a question about whether his career had ever . Rather than highlighting the individual gesture as such, Gordon playfully investigates the ways in which a discreet movement in a dance phrase will change in terms of how we perceive it as a result of the position it occupies in systematically varied choreographic complexes. His works are profound investigations of correspondances and collisions between language and movement, examinations of the creative and performing processes, explorations of structures. They are also enormously likable and often delightfully humorous. Gordon's genius lies both in his choice of dancers, most noticeably his wife and longtime collaborator Valda Setterfield, and in his gestural vocabulary. Also, his use of language underscores the message of his dances, which is that the body's actions and signals, like words, can change their meaning depending on their context. The phrasing of Gordon's movements is uninflected, fluid, tending to slide comfortably through the memory, so that what you want to pay attention to is the very manner in which these particular interesting figures do whatever it is they are doing. His sense of irony has been bouncing off her level, unassuming fa. Since she is always perfectly straight, Gordon's own gift for projecting comic ambiguity in language and movement can shine all the brighter, with an innocence beyond stain. It may be that without Setterfield as chief sounding board and accomplice he would not have developed his double edge at all . He's also the dance world's leading humanist. His work has a warmth, a glow, a wry humor and an all- encompassing love for life. The quirks, foibles and impossible complexities of our urban environment are seen and shown as both invigorating and consoling, frustrating and stimulating. On occasion he has revealed a critical temperament and, in postmodern (or Balanchinian) fashion, an interest in layered allusions. He also husbands themes and effects. No to transformations and magic? But Gordon is the first . It never is just that. In many ways, he is a gleaner of his own work, which he files away with the possibility of revisiting it in the future. But as much as he revives material after recontextualizing it, most fundamental to the vitality of . He is a director who knows dance. And even though there is a bit of everything in his work . Oxford Dictionary of Danced New York: Oxford University Press, 2. ISBN 0- 1. 9- 8. 60. Croce, Arlene. The New Yorker (November 2. Friedman, Lisa. Dial (August 1. Smith, Amanda. 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. Dancemagazine (January 1. Reiter, Susan. Being six feet tall and male, I was immediately put into a performance. At the same time I met another young woman from the Theatre Department who got me to go to an audition for Dark of the Moon. Two young men were vying vehemently for the role of the witch boy when I walked in, and the director said to me, . Come up here and read. Remarks made during the .
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