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WHAT BECOMES OF THE BROKENHEARTED

I like to laugh a lot, even when I’m in a terrible mood. For me, it’s all so extreme. You even see it by the subjects I choose for my theater pieces: on the one hand,Vienna at the turn of the century, frivolous, gay, elegant, enervated by the myth of beauty and form; on the other hand, . . . the Kafka of depression and fatalism, but also of decidedly lyrical passages.

THIS IS MARTHA CLARKE speaking about herself and her work. After choreographing for and dancing with Pilobolus from 1972 until 1978, and then cofounding, in 1978, the Crowsnest company, a small ensemble dedicated to exploring the relationship among dance, theater, and music, Clarke found her way to theater, through successive explorations, by consistently taking a literary or pictorial text as her point of departure. Around and through this text, she has been constructing her signature stagework, stunning us with her powers

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