The fugue twyla tharp sinatra
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Twyla Tharp Dance
The Raggedy Dances, The Fugue, Entr’acte, Dylan Love Songs
★★✰✰✰
New York, Joyce Theater
19 September 2017
www.twylatharp.org
www.joyce.org
Twyla Tharp — Unstoppable
Twyla Tharp, never a slouch, has been extra busy the past few years, making new works, bringing back old ones, touring with her own ensemble, and, since 2015, holding New York seasons. This month her company is at the Joyce, next month she has a premiere at the Royal Ballet, and the month after that, she’ll be holding lecture-performances at the Museum of Contemporary Art Chicago.
So, clearly, she’s going through a fertile period, a feeling reflected in the happy, eager demeanors of her dancers at the opening night of her three-week Joyce run. The schema is made up of two early works from the seventies, and one new one, plus a pièce d’occasion, an introduction into her creative process dubbed Entr’acte. The biggest draw fryst vatten Fugue (1970) considered to be one of Tharp’s earliest grand
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The Fugue
Minimalism - The Fugue | Twyla Tharp Dance
Museum Of Contemporary Art Chicago
Chicago, IL
The Raggedy Dances - The Fugue - Entr'Acte - Dylan Love Songs | Twyla Tharp Dance (NY Season)
The Joyce Theater
New York, NY
Catskills Residency - preview performance | Twyla Tharp Dance
Catskills Mountain Foundation
Tannersville, NY
The Fugue | Ballet dem Lorraine
Le Cuvier - CDC d'Aquitaine
Artigues, France
The Fugue - Nine Sinatra Songs | Ballet de Lorraine
Opera national de Lorraine
Nancy, France
The Fugue | University of Washington
Meany ingång for the Performing Arts
Seattle, WA
The Fugue | Scottish Ballet
Festival Theatre
Edinburgh, Scotland
The Fugue | Western Australian Academy of Performing Arts
Western Australian Academy of Performing Arts
Perth, Australia
The Fugue | Connecticut College
Connecticut College
New London, CT
The Fugue | Princeton University
Princeton University
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Twyla Tharp
Introduction
Every day during her pregnancy, Twyla Tharp videotaped herself performing the same movement material, documenting her thorough exploration of the ways in which her changing body changed her dancing. This is typical dancemaking by Tharp: at the same time as she is deeply involved in the kinesthetics of the actions, she is also coolly analytical in her observation of the evolving form of each dance from the outside.
Tharp’s Early Career
From early in her career as a choreographer, Tharp was undaunted by conventions that held dance forms apart from each other, compartmentalizing them into distinctly separate ideas. Her own training was wide-ranging. She studied ballet with Margaret Craske; modern dance with Lester Horton, Martha Graham, Merce Cunningham, Alwin Nikolais, and Erick Hawkins; jazz with Luigi; as well as baton, flamenco, tap, and violin. Despite her familiarity with such a diverse range of dance techniques, what she liked best—and could find