Merce.Cunningham.Collection.Vol.1.DVD.nrg
Pond.Way.(Merce.Cunningham,.music.Brian.Eno).avi
Merce.Cunningham.digest.avi
Merce.Cunningham-.septet.(1964).avi
Variations.V.(John.Cage-Merce.Cunningham).[excerpts].mov
Annie.Leibovitz.-.Merce.Cunningham.[a.portrait.photo].jpg
Merce.Cunningham.(standing,.New.York).jpeg
Merce Cunningham Collection: Vol 1
Deli Commedia (1985, 18 minutes, color)
Changing Steps (1989, 35 minutes, color, b&w)
Beach Birds For Camera (1993, 28 minutes, color, b&w)
A new DVD combines three classic video and film dances made by Merce Cunningham and Elliot Caplan previously available only on VHS. This DVD also features introductions to DELI COMMEDIA and BEACH BIRDS FOR CAMERA by Merce Cunningham. (DVD is non-coded, so will play in any region.)
(http://www.merce.org/shop.html#collection)
Merce Cunningham Collection
DELI COMMEDIA Deli Commedia is conceived as a slapstick comedy, Cunningham's nod to the improvised farces of the Italian 18th-century commedia dell'arte and to the two-reel comedies of the silent screen. The score - "I Can't Go On to the Next Thing, Till I Find Out More About You," by Pat Richter, Cunningham's favorite class accompanist - functioned like the piano accompaniments to silent films. Sight gags, kinetic jokes, cakewalking, tango, lindy hop and imaginative juxtapositions of bodies, props and special effects figures in the choreography. CHANGING STEPS Merce Cunningham choreographed Changing Steps in 1973 and it was first included in a performance given at the Brooklyn Academy of Music, New York. In its original form it consisted of a solo dance for each member of the company, 5 duets, 3 trios, 2 quartets, and 2 quintets, which could be performed in any order, and separately or overlapping if space allowed. ''What made Changing Steps unique was the fact that it had a history... Black and white half-inch open reel videotape had been made during rehearsals in 1974 and I thought it would be interesting to use it, where possible. Sections are repeated in both the black and white archival material and the current color material, allowing the viewer to see the historic layers of the transfer of the choreography from dancer to dancer.'' Elliot Caplan
(http://www.keeno.nl/dvd/article?id=10595)
"Camera space presents a challenge. It has clear limits, but it also gives opportunities of working with dance that are not available on the stage. The camera takes a fixed view, but it can be moved. There is the possibility of cutting to a second camera which can change the size of the dancer, which, to my eye, also affects the time, the rhythm of the movement. It also can show dance in a way no possible on the stage: that is, the use of detail which in the broader context of theatre does not appear. Working with video and film also gives me the opportunity to rethink certain technical elements. For example, the speed with which one catches an image on the television made me introduce into our class work different elements of movement concerned with tempos which added a new dimension to our general class work behaviour."
(http://www.play.com/play247.asp?page=title&Cur=257&r=R2&title=606443&P36=3JW7SB)
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