new-york

Merce Cunningham

City Center

Attempting to interpret the meaning of a dance by Merce Cunningham is probably a futile proposition to begin with. One of the few localizable aspects of Cunningham’s choreography over the past forty or so years has been its defiance of one fixed reading, and it is this nonimposing quality that makes Cunningham’s choreography so liberating. He is curious about process—as opposed to concentrating exclusively on an end result, and this focus has always saved the work from didacticism and predictability.

Through the years, Cunningham’s idea of process has depended on the use of chance operations, the interdependence of sound and movement, the use of multiple focal points, and the integration of everyday movement into dance. With Trackers, 1991, Cunningham, has for the first time, used a computer in the process of choreographing a work.

Does Trackers feel computer generated? Not that I know what

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