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Anna Halprin (Routledge Performance Practitioners) by Libby Worth

By Libby Worth

This guidebook strains the life's paintings of radical dance-maker Anna Halprin, documenting her early occupation as a contemporary dancer within the Nineteen Forties via to the advance of her groundbreaking method of dance as an obtainable artwork shape. existence and paintings -- concept and perform -- The mountain performances, Circle the earth, and The planetary dance -- functional explorations

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Extra resources for Anna Halprin (Routledge Performance Practitioners)

Sample text

In 1980 during the twenty-fifth anniversary year of the San Francisco Dancers’ Workshop she was awarded the American Dance Guild’s Award in recognition of her work as one of the nation’s leading exponents of experimental dance. While in 1994, aged 73, she returned to the University of Wisconsin to receive an Honorary Doctorate of Fine Arts. In 1997 she was presented with the Samuel H. Scripps/American Dance Festival Award, established in 1981 and one of the most prestigious dance honours for lifetime achievement, accompanied by a $25,000 cash award.

Ceremony of Us manifested Halprin’s desire to create ‘theatre where everything is experienced as if for the first time, a theatre of risk, spontaneity, exposure and intensity’ (Halprin 1995: 101). It was a challenging process for Halprin, forcing her to confront her own attitudes and to engage with reality of cultural difference. The need for a method that could enable groups to work collectively across difference became apparent and precipitated the evolution of the RSVP Cycles for collective creativity (see Chapter 2).

She was just out of her mind’ (Pierce 1975: 9). The outdoor deck and studio at Kentfield has remained a meeting place for artists to exchange ideas and methods of working even when styles are apparently very different. For example although not particularly LIFE AND WORK 39 40 LIFE AND WORK drawn to the Japanese form of contemporary dance called Butoh (full name Ankoku Butoh – Dance of Total Darkness) which has become too rigidly codified for her taste, Halprin greatly appreciated the work of individual dancers who have worked closely with or within the Butoh style.

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