TABLE OF CONTENTS

Lucinda Childs: A Portfolio

NOTHING IS NECESSARILY EXTRANEOUS TO DANCE, including the professionally trained dancer’s susceptibility to the influence of the movement of nonprofessionals. The Judson Dance Theatre, a group which I joined in 1962 with a background in formal dance, concerned itself with this idea. While some of the choreographers adhered to chance methodology and task-oriented rule games to extend the range of movement outside the traditional guidelines,1 I was among others who developed some different methods.

I used materials as objects combining dance phrases with movement activity in relation to objects. To eliminate this idiomatic contradiction, I chose to have the movement governed by the materials and subject to the limitations of their physical qualities. I experimented with movement events in relation to objects. I then altered and extended these events in time and space, connecting them in a

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