Construction Update: We’re open! By car, access the parking garage from Vineland Place.
Out There 2012
How does the Walker’s Out There series reflect or reject broader performing arts currents in the Unites States and around the globe? Walker staff writer Julie Caniglia tests the waters surrounding the quartet of theatrical freethinkers appearing at this 24th annual festival of adventurous performance.
Performance is by nature slippery—the work exists only in the moment of its enactment; later, as something remembered or recounted in stories, it’s filtered through someone’s lens. So, if you’re a museum like the Walker that “collects” performing arts, where does this leave you? With plenty of questions and access to top thinkers in the field.
The Muscle of Art: How Cunningham and Rauschenberg Inspire Us to Flex
“Activity and open curiosity support the muscle of art,” Robert Rauschenberg once said. His work with choreographer Merce Cunningham actively embodied this idea, spanning more than 20 collaborations, five decades, and countless creative and pragmatic challenges.
What happens when two powerful artistic personalities come together to create work for the stage? Walker curator Darsie Alexander looks at the initial transformative 10-year collaborative relationship between eminent dancer/choreographer Merce Cunningham and visual artist Robert Rauschenberg.
A Tragicomedy for All Seasons
Video projections, a beer-swigging Herakles, a sample from the movie His Girl Friday: Big Dance Theater’s Annie-B Parson and Paul Lazar discuss the choices they made in adapting Euripides’ 438 BC tragicomedy Alkestis to give it resonance today.
“I’m fascinated by what drives people to get out of bed and to push the Sisyphean boulder up the hill again and again,” says Kenneth Parris on his New York Times sketches of dancers in the Merce Cunningham Dance Company. “Under the patina of grace and glamour, there lies a working-class ethic.”