![]() But if you look at my first book, Poetry at Stake (Princeton University Press, 1999), you’ll see that I was already writing about performance artists-Patti Smith and Laurie Anderson. You began your career as a scholar of 19th- and 20th-century French poetry, and over time you’ve turned your research toward performance genres. Noland utilizes a rich and previously unseen archive that includes photographs, film footage, and unpublished writings by Cunningham, as well as personal interviews with his former dancers and collaborators, to expand on and also counter prior understandings of his legacy.īelow Noland discusses her inspiration behind the book and what she hopes readers will ultimately take away from it. In her upcoming book, Merce Cunningham: After the Arbitrary (The University of Chicago Press, 2019), Carrie Noland, professor of French and director of the International Center for Writing and Translation at the University of California, Irvine, brings new insight to this transformative artist’s philosophy and work. ![]() In a career spanning 70 years, he was a dancer, choreographer, writer, teacher, innovator, collaborator and even a film producer.įar too often, however, accounts of Cunningham’s work have neglected its full scope, focusing on his collaborations with the visionary composer John Cage or insisting that randomness was the singular goal of his choreography. ![]() One of the most influential choreographers of the twentieth century, Merce Cunningham is known for introducing chance to dance, often using the roll of the dice and other “chance” procedures to challenge traditional concepts of dance, the limitations of the stage, and the relationship between dance, music and visual arts. ![]()
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