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Interview with Robert Ellis Dunn [sound recording]

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  • "Disc 2 (ca. 50 min.). Robert Dunn speaks with Don McDonagh about the first dance performance at Judson Memorial Church [he begins by reading a description, possibly from a review, of how the evening's program started] including the absence of any overt religious content; [reads further from the putative review]; the choice of program through consensus; Steve Paxton's role in obtaining the use of Judson Memorial Church as a performance space; Merce Cunningham's choreography and the proscenium stage [short gap]; Simone Forti, including her improvisations and a dance about an onion; her personality when younger; the openness of the composition workshop; the importance composers, e.g., Louis Horst and John Cage, have played in modern dance's development; the influence of the Judson Dance Theater on ballet; his analysis of George Balanchine's ballet Agon; reasons Giselle is his favorite ballet; [short gap]; Louis Horst , including Dunn's view that he was an impediment to Graham's further development; the problem of what to call the kind of dance Merce Cunningham and Jimmy (James) Waring create, including Yvonne Rainer's suggestion of the term postmodern dance; Waring as a choreographer and as a dancer; certain details regarding the composition classes; his view that the Judson Dance Theater was partly the work of the semi-silent generation; the lack of financial resources."
  • "Disc 1 (ca. 64 min.). Robert Dunn speaks with Don McDonagh about his involvement in dance, including working as a rehearsal pianist for Martha Graham; Louis Horst as a teacher; chance and indeterminacy; the composition workshop he and John Cage taught [at the Merce Cunningham Studio], including the workshop's performance at Judson Memorial Church; the nature of the assignments; how he came to teach the composition course; the composition course he taught at the Boston Conservatory of Music; more on the workshop he taught with Cage, including some of the students [short gap]; briefly, Ruth Emerson; more on the students, including their backgrounds; Robert Rauschenberg and his participation in the workshop; Dunn's approach to the performance space at Judson Memorial Church; describes a work Lucinda Childs created for the workshop; how the workshop came to perform at Judson Memorial Church; Jill Johnston; Horst's attitude toward Cunningham; Steve Paxton's anxiety-provoking choreography; [ends abruptly]."

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  • "Interview with Robert Ellis Dunn [sound recording]"
  • "Interview with Robert Ellis Dunn"

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