Tag Archives: Royce Hall

MERCE CUNNINGHAM — NIGHT OF 100 SOLOS

On Tuesday, in celebration of what would have been Merce Cunningham‘s 100th birthday, the Merce Cunningham Trust will present NIGHT OF 100 SOLOS—A CENTENNIAL EVENT.

In three venues—first at London’s Barbican, then at the Brooklyn Academy of Music, and finally at UCLA—an 80-minute performance of 100 overlapping solos will be overseen by Merce Cunningham Dance Company alumni as the work of the late, great choreographer continues to invigorate the canon and astonish new generations.

“This Event, and the longstanding, continuing partnerships with these three premier organizations, are true signs that the Cunningham legacy is alive and well ten years after his passing.” — Ken Tabachnick, executive director of the trust

In Los Angeles, the event will be staged by Andrea Weber—a dancer with the company from 2004 to 2011—with Dylan Crossman. Jennifer Steinkamp designed the set at Royce Hall, and Jessica Wodinsky is the lighting designer.

Madison Greenstone, Bethan Kellough, Stephan Moore, Stephanie Richards, and Suzanne Thorpe will provide live musical accompaniment, organized by Stephan Moore.

The dancers for the Los Angeles section are Paige Amicon, Barry Brannum, Lorrin Brubaker, Rena Butler, Tamsin Carlson, Erin Dowd, Katherine Helen Fisher, Joshua Guillemot-Rodgerson, Casey Hess, Thomas House, Laurel Jenkins, Burr Johnson, Vanessa Knouse, Cori Kresge, Brian Lawson, Jessica Liu, Victor Lozano, Daniel McCusker, Polly Motley, Jermaine Maurice Spivey, Savannah Spratt, Pam Tanowitz, Ros WarbyRiley Watts, and Sam Wentz, with Cemiyon Barber and Una Ludviksen as understudies.

NIGHT OF 100 SOLOS—A CENTENNIAL EVENT

Tuesday, April 16, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

From top: Gerda Peterich, Merce Cunningham in Sixteen Dances for Soloist and Company of Three (detail), 1952; Robert Rauschenberg, Untitled [Merce (III)] , 1953, courtesy of the Robert Rauschenberg Foundation; Andrea Weber at the Philadelphia Museum of Art in 2012, dancing Cunningham as part of the exhibition Dancing Around the Bride, photograph by Constance Mensh; Cunningham (2).

OHAD NAHARIN / BATSHEVA — VENEZUELA

In VENEZUELAOhad Naharin’s long-gestating double take on perception and the “dialog between movement and the content it represents”—Batsheva Dance Company mixes the intensely physical articulation of its familiar Gaga technique with a détournement of ballroom and tango forms, set to music by—among others—The Notorious B.I.G., Rage Against the Machine, and a selection of Gregorian Chants.*

This weekend, CAP UCLA will present two performances of VENEZUELA at Royce.

OHAD NAHARIN / BATSHEVA DANCE COMPANY—VENEZUELA*

Friday and Saturday, March 15 and 16.

Shows at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

Ohad Naharin / Batsheva Dance Company, Venezuela. Photography credit Ascaf, courtesy the artists and CAP UCLA.

DIMITRIS PAPAIOANNOU — THE GREAT TAMER

Dimitris Papaioannou started out as a painter and comics artist, but now he does it all—director, choreographer, performer, costumer, and set and lighting designer.

Last year he premiered Since She at Tanztheater Wuppertal Pina Bausch, the first choreographer invited to do so since Bausch’s death.

THE GREAT TAMER—his mysterious evening-length performance work in its U.S. premiere this week at Royce Hall—is a dreamlike journey through time and the underworld, with references to Rembrandt’s Anatomy Lesson of Dr. Nicolaes Tulp, Botticelli’s The Birth of Venus, Michelangelo’s David, the myths of Orpheus and Eurydice, and Kubrick’s use of “The Blue Danube.”

Performers for the Los Angeles and Ann Arbor dates include Pavlina Andriopoulou, Costas Chrysafidis, Dimitris Kitsos, Ioannis Michos, Evangelia Randou, Kalliopi Simou, Drossos Skotis, Christos Strinopoulos, Yorgos Tsiantoulas, and Alex Vangelis.

DIMITRIS PAPAIOANNOU—THE GREAT TAMER

Friday, January 11, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

Friday and Saturday, January 18 and 19, at 8 pm.

Power Center, University of Michigan

121 Fletcher Street, Ann Arbor.

The Great Tamer. All photographs by Julian Mommert.

REBECCA SOLNIT IN CONVERSATION

“I have been fascinated by trying to map the ways that we think and talk, the unsorted experience wherein one can start by complaining about politics and end by confessing about passions, the ease with which we can get to any point from any other point…

“The straight line of conversational narrative is too often an elevated freeway permitting no unplanned encounters or unnecessary detours. It is not how our thoughts travel, nor does it allow us to map the whole world rather than one streamlined trajectory across it.”

“I wanted more, more scope, more nuance, more inclusion of crucial details and associations that are conventionally excluded. The convergence of multiple kinds of stories shaped my writing in one way; this traveling by association shaped it in others.” — Rebecca Solnit*

This week, CAP UCLA presents the essential author and activist Rebecca Solnit, in conversation with UCLA professor and LENS founder Jon Christensen.

REBECCA SOLNIT IN CONVERSATION WITH JON CHRISTENSEN

Thursday, October 25, at 8 pm.

Royce Hall, UCLA, 10745 Dickson Court, Los Angeles.

See Solnit on Christine Blasey Ford.

On Kavanaugh.

On the October 2018 IPCC report on climate change.

*Rebecca Solnit, Storming the Gates of Paradise (Berkeley: University of California Press, 2007), 2.

Below: Rebecca Solnit. Photograph by Adrian Mendoza. Image credit: CAP UCLA.

Book cover image credits: Haymarket Books, and Penguin (A Field Guide to Getting Lost).

UPCOMING DANCE FROM CAP UCLA

Mon Elue Noire

The Bill T. Jones/Arnie Zane Company—whose collaboration with SITI Company, A Rite, brought down the house at Royce Hall three years ago—is returning to UCLA this autumn with ANALOGY TRILOGY, a marathon work that combines Analogy/Dora and Analogy/Lance with Analogy Ambros, based on a story by W. G. Sebald.

Batsheva_Venezuela_photo (c) Ascaf__2714

The Jones/Zane company engagement is one of several dance presentations now on sale as part of the complete CAP UCLA 2018–2019 season. Other highlights include Germaine Acogny’s performance of Olivier DuboisMON ÉLUE NOIRE—SACRE #2Jérôme Bel’s GALA, the Quote Unquote Collective’s MOUTHPIECE, Batsheva’s VENEZUELA, and the Merce Cunningham celebration NIGHT OF 100 SOLOS.

Dates and tickets: cap.ucla.edu/calendar

From top: Germaine Acogny in Mon élue noire—Sacre #2, Batsheva Dance Company in Venezuela, and the Bill T. Jones/Arnie Zane Company, photograph by Paul B. Goode.

Bill T Jones_Analogy_Dora_PhotobyPaulBGoode