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Interview with Merce Cunningham

Merce Cunningham discusses his technique, choreography and dance company, followed by a discussion of his collaboration with John Cage, his choreographic method and rehearsal procedure, and works in his repertory, notably Septet, Suite for five, Aeon, and Night wandering. He concludes with comments on Bo Nilsson, composer of the music for Night wandering, the company's recent world tour, audiences, and the future of modern dance.

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  • "Merce Cunningham discusses in detail his use of chance to inform and influence his choreography, emphasizing the intentional nature of his finished dance works; the origins and development of his style; the term abstract as it relates to dance; his consideration of the audience in making his work; how television has affected dance audiences."
  • "David Sears interviews Merce Cunningham, by telephone, primarily about his work for Martha Graham when Cunningham was at the Martha Graham School of Contemporary Dance and the Martha Graham Dance Company. [In general, Sears' questions tend to include detailed facts regarding Graham's works and Cuningham's roles, while Cunningham's answers tend to be brief.] Cunningham confirms that he first met Martha Graham at Mills [College]; speaks about dancing in her work Every soul is a circus; Graham's work El penitente, including his feelings about wearing a mask and dancing the role of the Christ figure; the props, including the cross and the wagon; Graham's work Letter to the world, including his solo in the role of March; Graham's work Punch and the Judy, including dancing the role of Pegasus; Sears asks about Graham's work Land be bright, which Cunningham does not recall at all; Graham's work Deaths and entrances, including his fight scene with Erick [Hawkins]; his thoughts on Graham's method of creating roles; Sears asks about Graham's work Imagined wing, of which Cunningham recalls very little; Graham's work Appalachian spring, including his choreographing his own solo for his role as the preacher [the Revivalist] [gap]; his role as an offstage speaker in Graham's work Salem shore; his onstage speaking role as the Interlocutor in Graham's work American document; Cunningham's work Mysterious adventure [with music by John Cage]; reasons Cunningham studied with and danced for Graham; reason Graham began choreographing leaping movements; his thoughts on the contraction in Graham technique, including how watching it performed influenced his concept of movement; Louis Horst's composition classes [gap of ca. 1 min.]; his admiration for Horst's love of dance; his relationship with Graham, including the reason he left her company."
  • "Merce Cunningham discusses his technique, choreography and dance company, followed by a discussion of his collaboration with John Cage, his choreographic method and rehearsal procedure, and works in his repertory, notably Septet, Suite for five, Aeon, and Night wandering. He concludes with comments on Bo Nilsson, composer of the music for Night wandering, the company's recent world tour, audiences, and the future of modern dance."@en
  • "Merce Cunningham discusses preparations for his company's debut at City Center; his opinion of the label avant-garde; his history of making works with John Cage; his opportunity and experience dancing for Martha Graham; further collaborative work with John Cage including an anecdote about Winter branch, and detailed description of the sound accompaniment Cage used for Cunningham's piece, Inlets; his process of dance by chance; his piece Torse; characteristics of his choreographic style; and the future of modern dance."

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  • "Interview with Merce Cunningham"
  • "Interview with Merce Cunningham"@en

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