Merce Cunningham Trust


Space, Time, and Dance

The classical ballet, by maintaining the image of the Renaissance perspective in stage thought, kept a linear form of space. The modern American dance, stemming from German expressionism and the personal feelings of the various American pioneers, made space into a series of lumps, or often just static area, but simply forms that by their connection in time made a shape. Some of the space-thought coming fro the German dance opened the space out, and left a momentary feeling of connection with it, but too often the space was not visible enough because the physical action was all of a lightness, like sky without earth, or heaven without hell.

The fortunate thing in dancing is that space and time cannot be disconnected, and everyone can see and understand that. A body still is taking up just as much space and time as a body moving. The result is that neither the one nor the other--moving are one of its opposite--stillness. Aside from the personal skill and clarity of the individual dancer, there are certain things that make clear to a spectator what the dancer is doing. In the ballet the various steps that lead to the larger movements or poses have, by usage and by their momentum, become common ground upon which the spectator can lead his eyes and his feelings into the resulting action. This also helps define the rhythm, in fact more often than not does it define it. In the modern dance, the tendency or the wish has been to get rid of these “unnecessary and balletic” movements, at the same time wanting the same result in the size and vigor of the movement as the balletic action, and this has often left the dancer and the spectator slightly short.

To quibble with that on the other side: one of the best discoveries the modern dance has made use of is the gravity of the body in weight, that is, as opposite from denying (and thus affirming) gravity by ascent into the air, the weight of the ody in going with gravity, down. The word “heavy” connotes something incorrect, since what is meant is not the heaviness of a bag of cement falling with full intent of eventual rise. This is not a fetish or a use of heaviness as an accent against a predominantly light quality, but a thing in itself. By its nature this kind of moving would make the space seem a series of unconnected sport, along with the lack of clear-connecting movements in the modern dance.

A prevalent feeling among many painters that lets them make a space in which anything can happen is a feeling dancers ma have too. Imitating the way nature makes a space and puts lots of things in it, heavy and light, little and big, all related, yet each affecting all the others.

About the formal methods of choreography--some due to the conviction that a communication of one order or another is necessary; others to the feeling that mind follows heart, that is, form follows content; some due to the feeling that the musical form is the most logical to follow--the most curious to me is the general feeling in the modern dance that nineteenth-century stemming from earlier pre-classical forms are the only formal actions advisable, or even possible to take. This seems a flat contradition of the modern dance--agreeing with the thought of discovering new or allegedly new movement for contemporary reasons, the using of psychology as a tremendous elastic basis for content, and wishing to be expressive of the “times” (although how can one be expressive of anything else)--but not feeling to need for a different basis upon which to put this expressive in fact being mainly content to indicate that either the old forms are good enough, or further the old forms are the only possible forms. These consist mainly of theme and variation, and associated devices--repetition, inversion, development and manipulation. There is also a tendency to imply a crisis to which one goes and then in some way retreats from. Now I can’t see that crisis any longer means a climax, unless we are willing to grant that every breath of wind has a climax (which I am), but then that obliterates climax, being a surfeit of such. And since our lives, both by nature by the newspapers, are so full of crisis that one is no longer aware of it, then it is clear that life goes on regardless, and further that each thing can be and is separate from each and every other, viz: the continuity of the newspaper headlines. Climax is for those who are swept by New Year’s Eve.

More freeing into space than the theme and manipulation ‘holdup’ would be a formal structure based on time. Now time can be an awful lot of bother with the ordinary pinch penny-counting that has to go on with it, but if one can think of the structure as a space of time in which anything can happen in any sequence of movement event, and any length of stillness can take place, then the counting is an aid toward freedom, rather than a discipline towards mechanization. A use of time-structure also frees the music into space, making the connection between the dance and the music one of individual autonomy connected at structural points. The result is the dance is free to act as it chooses, as is the music. The music doesn’t have to work itself to death to underline the dance, or the dance create havoc in trying to be as flashy as the music.

For me, it seems enough that dancing is a spiritual exercise in physical form, nd that what is seen, is what it is. And I do not believe it is possible to be “too simple.” What the dancer does is the most realistic of all possible things, and to pretend that a man standing on a hill could be doing everything except just standing is simply divorce--divorce form live, from the sun coming up and going down, from cloud in front of the sun , from the rain that comes from the clouds and sends you into the drugstore for a cup of coffee, from each thing that succeeds each thing. Dancing is a visible action of life.

-- Merce Cunningham