\t\t\t\t\t\t[aesop_gallery pslightbox=”on” speed=”7000″ width=”75%” galleryType=”thumbnail” id=”577″]\n
Merce Cunningham thought the light for his dances should be \u201clike Day\u201d but when he made Winterbranch, Robert Rauschenberg suggested that instead it should be \u201clike Night\u201d. Not romantic blue green moonlight but modern Night. Darkness with spots of electric light; a parking lot cold white light a long way away, the sweep of headlights from cars on the highway, the suddenness of the lights from stores as one drives by. I never discussed these ideas directly with Bob but was told by Merce (and the dancers) what he had done. It was always improvised during the performance. There was never a rehearsal. Scenically the stage was naked: no drapes, no wings, no cyclorama. The view was a completely open stage with all the equipment exposed at the sides, the back and overhead. The rear of the stage would show whatever had been stashed back there. Bob and his assistant would place lights strategically to reveal or streak across the mechanics. If there was old scenery, we should only see it\u2019s back so there was minimum of color and imagery. Piles of chairs, old equipment, fire extinguishers; all great. Additionally, Bob made a \u2018Monster\u2019 in each place out of whatever he found. (see below in the Concepts document.)<\/p>\n
The dancers wear dark navy-blue sweatshirts and sweatpants and a black smudge on their cheeks like football players. The choreography has lots of falls and drags and leaps. It was not improvised but very completely set choreographically. The dance is precisely 20 minutes long. The first 9 minutes is in silence. The music, on tape, is Two Sounds, by La Monte Young. It starts on minute 9 and the second part comes on 30 seconds later. The first Sound is a low tone created by a metal stool with a contact microphone attached being dragged across a wooden floor. The second Sound was picked up by a contact microphone attached to a tin can with raw edges being dragged across glass. These Two Sounds are loud and continue without modulation until the end of the piece.<\/p>\n
One is tempted given the sound and the random nature of the lighting to be somewhat horrified, but the piece is not intended to be an assault on the audience even though musically it can have that effect. Their discomfort in the lighting is really caused by their unconscious expectation that they should see everything clearly, that they assume they will be able to follow the thread or the narrative of the choreography, as if that is the only important thing there. It is their expectation\u2026their entitlement\u2026 which causes their reaction.<\/p>\n
How to accomplish the apparently random and dark lighting in a way that is safe for the dancers.
\n
<\/p>\n
Cue List 2 is created in advance in the cue writing tech. The location of when the cues are called are set at times determined by a stopwatch and selected at random, without regard to any particular action in the choreography. These cues are memorized to be executed by a console capable of operating two Cue Lists at the same time.<\/p>\n
Cue List 1 is accomplished during the dress run by improvised action as described below. The console remembers this List as it is created. The ballet is performed with both lists running simultaneously. The stage is naked; there are no wings\/legs, borders or drops.<\/p>\n
The dancers experience the dimness and the sharp shocks for the first time only at this dress rehearsal; the lighting for the performances at this venue will be the same each night. They will be able to make an accommodation at the same time that the audience experiences the sense of improvisation and randomness.<\/p>\n
It is very important that the locations of the cues and lighting actions that happen be different in each venue. The abruptness and darkness can be seen in the dancers\u2019 bodies as they react to the light; they should be safe but not comfortable. Cue List 1:<\/b><\/p>\n Additional Onstage Action:<\/b><\/p>\n
Cue List 2:<\/b><\/p>\n\n
\n