Modern Dance in the 1980s was characterized by several trends. Dance technique became more difficult and specific. Some movements that might typically be associated with sports or nondance activities were incorporated into choreographed pieces and used as dance movement. One choreographer who might be defined in this way is Trisha Brown, who uses movements that seem to defy gravity. Pilobolus combines athleticism, traditional modern dance, and the support of another dancer's weight in unusual ways to produce often humorous dances. Dancers seem to defy gravity. This group creates choreography by group decision.
Another development in the eighties was the alteration of the proscenium theater stage with all types of materials, including water, peat moss, and rocks, or leaves, on the stage floor. Linda Bausch uses these materials to enhance and influence her intense, dramatic concept of modern dance. Japanese choreographer Kei Takei uses such objects to intensify and pproject her concept of dance. One of her continuing projects, entitled Light, is continually developing and evolving.
Another trend that became significant in the 1980s involves choreographers who consult with other artists in related fields to collaborate and produce works. Some of the more prominent choreographers who work in this manner are Martha Clarke, David Gordon, Lucinda Childs, and Molissa Fenley. These choreographers collaborate with set, costume, and lighting designers, music composers, video artists, and others. All of these artists work together to produce works that are based on movement but additionally incorporate ideas from theater, art, and music. Several artists are responsible for the final product with the choreographer usually conceiving and directing the entire production. This method differs from the traditional methods of production, in which designers are often not consulted until after the choreography has considered and developer the work alone.
Some choreographers compose their own music as well as their own dances and are known as a choreographer/composer. One such artist, Laura Dean, has made significant contributions to modern dance through her use of spinning and repeated strong rhythmically patterns. Another choreographer/composer is Meredith Monk, who uses her own musical compositions and has recorded albums that have been recognized by the musical establishment.
Many contemporary choreographers continually produce significant works and tour the US and other parts of the world. There are too many to name; below are selected ones.
Mark Morris has been lauded as one of the most influential choreographers for the future of modern dance. He has been critically acclaimed for his use of music, his understanding of many and varied dance forms, and his ability to create energetic, explosive and sometimes outrageous dances. He uses all sizes and shapes of male and female dancers and does not necessarily use them in the traditional male/female roles. He may even reverse their roles on stage. He maintains his own modern-dance company s well as choreography extensively for opera and ballet companies.
Lar Lubovitch uses movement that is defined for the human body. He considers his dancers to be more important to him than any other element in his choreography, so his dances are designed to be humanistic. The Bill T Jones and Arnie Zane Company uses movement that often evokes startling images of playful violence, outrage, and sometimes warm, emotional gestures. Since the death of Zane in 1988, Jones has become a seminal influence in modern dance. One of his major works, Still/Here, deals with the issues of AIDS, death, and living.
part 1 - Trends in the 1980s (you are here)
part 2 - Trends in the 1990s
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