Marvel Studios, LLC (originally known as Marvel Films from 1993 to 1996) is an American motion picture studio based at The Walt Disney Studios in Burbank, California and is a subsidiary of Walt Disney Studios, itself a wholly owned division of The Walt Disney Company, with film producer Kevin Feige serving as president. Previously, the studio was a subsidiary of Marvel Entertainment until The Walt Disney Company reorganized the companies in August 2015.
Dedicated to producing films based on Marvel Comics characters, the studio has been involved in three Marvel-character film franchises to have exceeded one billion dollars in North American revenue: the X-Men, Spider-Man, and Marvel Cinematic Universe multi-film franchises. X-Men and Spider-Man and other Marvel franchises are licensed out to 20th Century Fox and Sony Pictures, respectively. Marvel Studios' films are currently distributed theatrically by Walt Disney Studios Motion Pictures; Paramount Pictures from 2008 to 2011; Universal Pictures for The Incredible Hulk; and Columbia Pictures for Spider-Man: Homecoming scheduled for release on July 7, 2017.
Marvel Studios has released 14 films since 2008 within the Marvel Cinematic Universe, from Iron Man (2008) to Doctor Strange (2016). These films all share continuity with each other, along with the One-Shots produced by the studio and the television shows produced by Marvel Television.
In the late 1970s up to the early 1990s, Marvel Entertainment Group (MEG) sold options to studios to produce films based on Marvel Comics characters. Spider-Man, one of Marvel's superheroes, was optioned in the late 1970s, and rights reverted to Marvel without a film having been produced within the allotted timeframe. From 1986 to 1996, most of Marvel's major characters had been optioned, including the Fantastic Four, X-Men, Daredevil, Hulk, Silver Surfer, and Iron Man. A Howard the Duck film made it to the screen in 1986, but was a box-office flop. New World Entertainment purchased MEG in November 1986 and moved to produce films based on the Marvel characters. It released The Punisher (1989) before MEG was sold to Ronald Perelman's Andrews Group. Two other films were produced: Captain America (1990) released in the United Kingdom on screens and direct to video in the United States, and The Fantastic Four (1994), not intended for release. Marvel's rival DC Comics, on the other hand, had success licensing its properties Superman and Batman into successful film franchises.
Following Marvel Entertainment Group's (MEG) ToyBiz deal in 1993, Avi Arad of ToyBiz was named President and CEO of Marvel Films division and of New World Family Filmworks, Inc., a New World Entertainment subsidiary. New World was MEG's former parent corporation and later a fellow subsidiary of the Andrews Group. Marvel Productions became New World Animation by 1993 as Marvel would start up Marvel Films including Marvel Films Animation. Marvel Films Animation shared Tom Tataranowicz with New World Animation as head of development and production. New World Animation (The Incredible Hulk), Saban (X-Men), and Marvel Films Animation (Spider-Man) each produced a Marvel series for television for the 1996–1997 season. It was Marvel Films Animation's only production. By the end of 1993, Arad and 20th Century Fox struck a deal to make a film based on the X-Men.
Jerry Calabrese, the president of Marvel Entertainment Group, and Avi Arad, head of Marvel Films and a director of Toy Biz, were assigned tandem control of Marvel Studios. Under Calabrese and Arad, Marvel sought to control pre-production by commissioning scripts, hiring directors, and casting characters, providing the package to a major studio partner for filming and distribution. Arad said of the goal for control, "When you get into business with a big studio, they are developing a hundred or 500 projects; you get totally lost. That isn't working for us. We're just not going to do it anymore. Period." Marvel Studios arranged a seven-year development deal with 20th Century Fox to cover markets in the United States and internationally. In the following December, Marvel Entertainment Group went through a reorganization plan, including Marvel Studios as part of its strategic investment. By 1997, Marvel Studios was actively pursuing various film productions based on Marvel characters, including the eventual films X-Men (2000), Daredevil (2003), Elektra (2005) and Fantastic Four (2005). Unproduced projects included Prince Namor, based on the character Namor and to be directed by Philip Kaufman, and Mort the Dead Teenager, based on the comic book of the same name and written by John Payson and Mort creator Larry Hama. Marvel was developing a Captain America animated series with Saban Entertainment for Fox Kids Network to premiere in fall 1998. However, due to the bankruptcy the series was canceled after only character designs and a one-minute promotional reel were made.
Blade was followed by X-Men, which was directed by Bryan Singer and was released on July 14, 2000. X-Men grossed $157,299,717 in the United States and Canada and $296,250,053 worldwide. The Marvel films Blade and X-Men demonstrated that widely popular films could be made out of comic book characters not familiar to the general public.
Leading up to X-Men's release, Marvel Studios negotiated a deal with then-functional Artisan Entertainment, successful with the low-budget The Blair Witch Project, for a co-production joint venture that included rights to 15 Marvel characters including Captain America, Thor, Black Panther, Iron Fist, and Deadpool. Artisan would finance and distribute while Marvel would developing licensing and merchandising tie-ins. The resulting production library, which would also include TV series, direct-to-video films and internet projects, would be co-owned. With the deal at the time, 24 Marvel properties were then in various stages of development.
Brian Cunningham, editor of Wizard comic book magazine, believed that Avi Arad was successful in organizing strategic alliances and exercising fiscal responsibility in multimedia expansion. Cunningham said of Arad's leadership of the studio following its parent company's near-bankruptcy, "The fact the X-Men is primed to be the biggest movie of the summer speaks volumes about the turnaround for Marvel. From my observation, he's focused on a lot more in diversifying Marvel, doing things that proliferate Marvel characters in the mainstream." Arad sought to protect Marvel's image by serving as executive producer in all Marvel film productions and being responsible for crossover marketing between Marvel properties. Arad had properties set up at different studios to create momentum so one studio would not cannibalize efforts with one property for the sake of another. By 2001, the success of Marvel Entertainment's Ultimate Marvel comics created leverage in Hollywood for Marvel Studios, pushing more properties into development.
In producing Marvel films in the 2000s, Avi Arad sought to capture the superheroes' internal conflicts. According to The New York Times, "Mr. Arad's great accomplishment – and it is one, given the difficulties in transferring any kind of printed material to the big screen – is conveying what makes those heroes tick as characters... He works with the filmmakers to ensure that the heroes are conflicted, the villains motivated, the outcome shaded." In contrast to the original storylines of DC Comics' Superman and Batman films, Marvel films were more directly inspired by their comics, copying from them set pieces, scenes, plots, and dialogue.
In 2003, David Maisel approached Arad about earning Marvel more for their films. Maisel, Arad and Perlmutter met leading to Maisel being hired in as President and COO. The studio's office, then on Santa Monica Boulevard, were small with a dozen or so staff members. Kevin Feige was a junior executive generating script notes to the licensed studios.
Partnering with Lionsgate in 2004, Marvel Studios plan to enter the direct-to-DVD market with eight animated films with Lionsgate Home Entertainment handling distribution. The line was a proof of concept for Masiel's later plan. Eric Rollman was hired by Marvel as Executive Vice President, Home Entertainment & TV Production for Marvel Studios to oversee the deal with Lionsgate.
In 2004, David Maisel was hired as chief operating officer of Marvel Studios as he had a plan for the studio to self-finance movies. Marvel entered into a non-recourse financing structure with Merrill Lynch that was collateralized by certain movie rights to a total of 10 characters from Marvel's vast vault. Marvel got $525 million to make a maximum of 10 movies based on the company's properties over eight years, according to the parameters of the original deal. Those characters were: Ant-Man, The Avengers, Black Panther, Captain America, Cloak & Dagger, Doctor Strange, Hawkeye, Nick Fury, Power Pack and Shang-Chi. Ambac insured the movies would succeed or they would pay the interest payment on the debt and get the movie rights collateral.
Initially Marvel Studios was in talks with Universal Studios as a possible distributor. Negotiations dragged on, so the studio began talks with Paramount Pictures. In the second quarter of 2005, Merrill attempted to back out of full financing of each movie, demanding that Marvel finance 1/3 of the budget. Marvel took back rights in five foreign territories from Paramount for pre-sell to meet that demand. On September 6, 2005, Marvel announced the Merrill Lynch financing deal with Paramount was on as marketer and distributor. Also, the parent company changed its name from Marvel Enterprises, Inc. to Marvel Entertainment, Inc. to reflect the change to self-production.
In November 2005, Marvel gained the film rights to Iron Man from New Line Cinema. Marvel revealed that it had regained the film rights to The Incredible Hulk in February 2006. In April 2006, Thor was announced to be a Marvel Studios production. Lions Gate Entertainment subsequently dropped the Black Widow motion picture project it had since 2004 giving the rights back to Marvel.
Masiel and Arad fought over the rate of movie releases and strength of characters in the movie line up. Perlmutter supported Masiel and thus, in May 2006, Arad quit as studio chair and CEO. In March 2007, David Maisel was named Chairman and Kevin Feige was named President of Production as Iron Man began filming.
In January 2008, Marvel Animation was incorporated to direct Marvel's efforts in animation and home entertainment markets including then animation efforts with Lionsgate and Nickelodeon. The company in March agreed to a five picture basic cable distribution with FX for Iron Man and The Incredible Hulk movies with the additional movies to be named later. In November, Marvel Studios signed a lease with Raleigh Studios to host its headquarters and production offices and film the next four movies on the studios' slate, including Iron Man 2 and Thor, at their Manhattan Beach facilities. By September 2008, Paramount added to its domestic film distribution contract 5 additional Marvel movies' foreign distribution.
In February 2015, it was announced that Disney and Sony Pictures will collaborate on the next Spider-Man films, the first of which is set to be released on July 7, 2017. Former Sony executive Amy Pascal will co-produce the films with Kevin Feige. The film rights to Spider-Man will still remain with Sony. Marvel Studios will also explore opportunities to integrate other characters of MCU into future Spider-Man films.
In August 2015, Marvel Studios was integrated into Walt Disney Studios, with Feige reporting directly to Walt Disney Studios chairman Alan Horn instead of Marvel Entertainment CEO Isaac Perlmutter. Marvel Television and subsidiary company Marvel Animation were left under Marvel Entertainment and Perlmutter's control.
Marvel had licensed out the film rights to many of their characters to other studios in the 1990s, starting with the X-Men to 20th Century Fox in 1993. One of the first characters to see the rights returned to Marvel was Black Panther, which were returned to Marvel in 2005, having previously been at Columbia and Artisan Entertainment. In November 2005, Marvel gained the film rights to Iron Man from New Line Cinema. In April 2006, Thor's rights reverted to Marvel from Sony, and in June, the Black Widow rights reverted to Marvel from Lions Gate Entertainment. That same year, the film rights to Hulk reverted to Marvel Studios from Universal Studios, after the latter failed to enter production on a sequel to Ang Lee's 2003 Hulk film. Universal, however, retained the right of first refusal to distribute future Hulk films.
After the licensing agreement with Sony that allowed Marvel to have the use of Spider-Man in their shared film universe, the only rights that Marvel Studios does not have access to are the X-Men and Fantastic Four set of characters and Deadpool; all are still in production as separate franchises at 20th Century Fox. Additionally, Marvel CCO Joe Quesada in 2012 believed Namor's rights had reverted to Marvel, but Feige said in August 2013 this was not so. However, Feige expanded in July 2014 saying that Marvel Studios, not Universal Pictures or Legendary Pictures, could make a Namor film, "but it's slightly more complicated than that. Let's put it this way – there are entanglements that make it less easy. There are older contracts that still involve other parties that mean we need to work things out before we move forward on it. As opposed to an Iron Man or any of the Avengers or any of the other Marvel characters where we could just put them in." In June 2016, Quesada again stated that, to his knowledge, the film rights to Namor had returned to Marvel.
Named after corporate sibling Marvel Comics' imprint of the same name, Marvel Knights is also the name given to a production arm of Marvel Studios intended to be used to produce some of Marvel's darker and lesser known titles. The first film produced under the Marvel Knights banner was Punisher: War Zone, the 2008 release that rebooted the Punisher franchise. In 2012, Ghost Rider: Spirit of Vengeance was the second and final title to be released under the Marvel Knights banner.
Logo animation (2013–2016), featuring the Marvel Studios fanfare (0:28).
Starting with the release of Spider-Man in 2002, Marvel Studios introduced its "flipbook" logo, created by Imaginary Forces. This logo was accompanied with music from the film's score, sound effects or a song, to lead into the beginning of the film. This was the logo seen in front of all films until 2013, when the logo was updated with the release of Thor: The Dark World, again created by Imaginary Forces. Kevin Feige stated that since Marvel was now their own entity within The Walt Disney Company, it "felt like the time to update it and have something that is more substantial as a standalone logo in front of our features" instead of having it be accompanied by Marvel's studio or distribution partners' logos. Feige added that "We didn't want to re-invent the wheel [with the new logo], but we wanted it to feel bigger, to feel more substantial, which is why it starts with the flip, but suddenly it's more dimensional as we go through the lettering and it reveals itself with the metallic sheen before settling into the white-on-red, well known Marvel logo, with the added flourish of the arrival and the announcement of the Studios at the bottom of the word Marvel." Imaginary Forces used the same animation technique on the updated logo, as they did when they created the first version in 2002. They were given a few hundred comic books to select images from, ultimately choosing 120 that were "universal and not specific to one character" and created a narrative "where each image spoke to the one before it and after."
The new logo appeared on all subsequent studio productions set within the Marvel Cinematic Universe through Captain America: Civil War. With the addition of the new logo, Marvel Studios also added a fanfare to accompany the logo, composed by Brian Tyler, who wrote the scores to Iron Man 3, Thor: The Dark World, and Avengers: Age of Ultron. It was featured on the films Thor: The Dark World, Captain America: The Winter Soldier, and Guardians of the Galaxy. In July 2016, another new logo and opening were introduced, featuring an updated fanfare, composed this time by Doctor Strange composer Michael Giacchino. The new opening begins with comic book panels seen in the previous two openings, but transitions into footage and art of the characters from the Marvel Cinematic Universe. It was first seen in front of Doctor Strange.
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The Heights Of Macchu Picchu Poem
The artists that contributed to the event with their talent were Dominican poets Amanda Alcantara, editor of La Galería Magazine, Roberto Carlos Garcia, published poet and translator of Pablo.
Dec 10, 2015 · The most important poet of the twentieth century—in any language.—Gabriel Garcia MarquezThe Heights of Macchu Picchu is a poem of ascension.. In its final passages, Nerudas poetry jumps from a personal hope to a global one; from a poetry. Details of The Heights of Macchu Picchu.
It altered a political and cultural landscape. We see this throughout his work but perhaps best articulated in the final lines of his famous poem "The Heights of Macchu Picchu," where the poet,
Juan Felipe Herrera, the new U.S. poet laureate. Herrera played a haunting clip of Pablo Neruda reading "The Heights of Macchu Picchu" — just one of the innumerable treasures in the library's audio.
Poe 3.2 Poets Pen The Parnassus (1511) by Raphael: famous poets recite alongside the nine Muses atop Mount Parnassus. Poetry (the term derives from a variant of the Greek term, poiesis, "making") is a form of literature that uses aesthetic and rhythmic qualities of language —such as phonaesthetics, sound symbolism, and metre —to evoke meanings in addition to, or
Mr Moran said the words were reminiscent of the early sections of Neruda's great 1945 poem Heights of Macchu Picchu, which contrasts the "spontaneous and ceaseless self-renewal of Nature with Man's.
The Heights of Macchu Picchu is an excellent poem (Tarn's translation is a good one). It weakens a bit towards the end, but the first 2/3 of the poems is wonderful stuff. And Robert Pring-Mill prefaces this edition with a great essay that really takes you into the meaning of Neruda's poem.
Types Of Fictional Prose Before the rail tracks were pulled up, before pink-faced city types came pedalling and puffing along the Otago. "I'll just keep writing prose and poetry until I can't anymore." Brian Turner stands. Types of Satire in Literature: Juvenalian. Juvenalian satire shows anger and resentfulness. It can be personal, and its goal is to provoke change.
"The Heights of Machu Picchu" has been called Pablo Neruda's greatest contribution to poetry—a search for the "indestructible, imperishable life" in all things. Inspired by his journey to the ancient ruins, Neruda calls the lost Incan civilization to "rise up and be born," and also empowers the people of his time.
Apr 29, 2010 · The Heights of Macchu Picchu is a long, complex spiritual poem. Split into 12 sections, each is written in dense surreal images.
Oscar Wilde Ideal Husband An index of monologues by Oscar Wilde. The Duchess of Padua. dramatic monologue for a woman. A Florentine Tragedy. dramatic monologue for a man THE PERSONS OF THE PLAY THE EARL OF CAVERSHAM, K.G. VISCOUNT GORING, his Son SIR ROBERT CHILTERN, Bart., Under-Secretary for Foreign Affairs VICOMTE DE NANJAC, Attache at the French Embassy in
New Poems, 1972, Splendor and Death of Joaquín Murieta, 1972, and now Five Decades), Nathaniel Tarn (The Heights of Macchu-Picchu, 1966), W.S. Merwin (Twenty Love Poems and a Song of Despair, 1969),
May 18, 2013 · A reading of "The Heights of Macchu Picchu" by Pablo Neruda. Stanza 1. American Lit Honors ISLA on Naomi Shihab Nye's poetry – Duration. Neruda recita "Alturas de Macchu Picchu…
The haunting vision of the lost city became the inspiration for his poem Hidden Door that he dedicated to 'Pablo Neruda on the heights of Macchu Picchu.' Ginsberg's poem Aether was composed a week.
Apr 19, 2013 · I also think the structure of the poem Heights of Macchu Picchu is an effective literary method for this poem in particular because, like Macchu Picchu it has its lows and its highs and up's and down's. Neruda starts off the poem by describing the lows of the setting the flowers, the rivers, but also how he feels and he is feeling pretty.
He can be lyrical and tender, as in his love poems and his vivid descriptions of his summer home, "Memorial to Isla Negra" (1964), or fiercely mordant, as in his portrayal of oppression in "The.
At 7pm tonight, June 23rd, at the WOW Café Theater, the Dominicans Love Haitians Movement brings together Dominican. published poet and translator of Pablo Neruda's Heights of Macchu Picchu & Other.
"The Heights of Macchu Picchu" is a numbered sequence of twelve poems. Taken as an entity separate from the larger work, it is the product of classic poetic inspiration and indicates a.
Book Club Reads 2015 So why read about it? Why engage? Because the world is split into. You were caught by surprise; you have no recourse. Only. My friend nodded. And this was the conception of the Any Book Book Club. Book clubs are predicated on the formula that someone chooses a book, the whole club reads it together,
Many Hindi literary magazines published translations of his poems. "Heights of Macchu Picchu" was one of his celebrated poems those days. Neruda is no longer as popular among Hindi writers as he used.
general, and the poems in it, as epic poetry.4 The Heights of Macchu Picchu, which is identified as the twelve-part Canto II in the Canto general, is indeed a small-scale epic masterpiece. While. 2 the larger work contains overtly (leftist) political poems, The Heights in itself is more evocative,
The style, with its sweeping hyperboles and celebratory tone, typifies many of the early poems in the "Canto" and reaches its limit in the breathtaking section called "The Heights of Macchu Picchu,".
Suddenly Neruda–like Moses parting the water of the Red Sea–raised a big hand, simultaneously chanting in his deep, mesmerizing voice a section of "The Heights of Macchu Picchu," one of his most.
The heights of Macchu Picchu : Alturas de Macchu Picchu [Poem]. [Pablo Neruda; Nathaniel Tarn] — Long poem inspired by the author's journey to a ruined Inca city, Macchu Picchu, high in the Andes, symbolic not only of his physical journey but also of his spiritual adventure.
Alturas de Macchu Picchu. The heights of Macchu Picchu. [Poem] Translated by Nathaniel Tarn. Format Book Edition [1st American ed.] Published New York, Farrar, Straus & Giroux [1967, c1966] Description xix, 71 p. Other contributors Tarn, Nathaniel. Other titles The heights of Macchu Picchu.
The big story this fall in poetry is the sheer number of Pulitzer Prize winners. and this is the follow-up to his Pulitzer winner. The Heights of Macchu Picchu by Pablo Neruda, trans. by Tomas Q.
His engagement with Pablo Neruda's poems, and the series of 24 drawings inspired by The Heights Of Macchu Picchu, and his Journeys series, speak of the internationalism of that moment—that reaching.
There were five of us in the room reading from three different editions. One of the sceptics announced that she had found a poem she had liked, The Heights of Macchu Picchu, a 12-poem sequence.
Part of the work is the poem "Alturas of Macchu Picchu" (Heights of Macchu Picchu,) a celebration of pre-Columbian civilization. He lived in Europe for three years and returned to Chile in 1952,
Macchu Picchuappears in The Heights of Macchu Picchu. In Canto General, the 12-part poem entitled The Heights of Macchu Picchu was published. It is a journey of one man's spiritual ascension from the base of the mountain to the top, and the events that occur within him along the way. In this work, Neruda was portraying not just himself,
God Of Love Greek Myth Hades (/ ˈ h eɪ d iː z /; Greek: ᾍδης Hádēs; Ἅιδης Háidēs), in the ancient Greek religion and myth, is the god of the dead and the king of the underworld, with which his name became synonymous. Hades was the eldest son of Cronus and Rhea, although the last son regurgitated by his
Twenty Love Poems was a critical and even something of a commercial. Neruda sometimes writes least about what is most important (the best of the 15 sections, "The Heights of Macchu Picchu," is also.
The Heights of Macchu Picchu | The Heights of Macchu Picchu is the finest and most famous of Neruda's longer poems and provides the key to his earlier work. It was inspired by his journey to Macchu Picchu, the Peruvian Inca city high in the Andes.
Poetry Scholarship For High School Students More than 1,000 distinguished high school seniors have won corporate-sponsored National Merit Scholarships. They were chosen from those students who became finalists in the scholarship competition and. 10 students from six South Bay high schools — most from the Peninsula — have received a competitive national scholarship this. Wilcox High School was founded in 1961
Robert Pring-Mill. to understand the poem better: "I took a sabbatical year and drove a Land-Rover from Canada down to the south of Chile." His other translations of the Chilean Nobel prizewinner.
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Writings | Dec 3, 2012
On Clarinda Mac Low's 40 Dancers do 40 Dances for the Dancers by Scott Thurston
In "40 Dancers do 40 Dances for the Dancers," at Danspace Project in St. Mark's Church on September 13–15, performance and installation artist and co-director of Culture Push Clarinda Mac Low assembled nearly 40 performers over the course of three nights to execute all 40 of her artist, composer and performance artist father Jackson Mac Low's performance-instruction poems from his 1964 collection, The Pronouns: A Collection of 40 Dances for the Dancers. The event was a tribute in the form of a "child's-eye view" of the 1970s avant-garde; an homage both to the Judson era and to Mac Low, who would have been 90 that month. Scott Thurston is currently researching the relationship between innovative poetry and experimental dance practices. As part of this work he traveled to New York City in September to see 40 Dancers, to interview Sally Silvers and Bruce Andrews, and to take a workshop with Simone Forti. Download a PDF of this article.
2ND DANCE—SEEING LINES—6 February 1964 She seems to come by wing, & keeping present being in front, she reasons regularly. Then—making her stomach let itself down & giving a bit or doing something elastic & making herself comfortable— she lets complex impulses make something. She disgusts everyone. Later she fingers a door & wheels awhile while either transporting a star or letting go of a street. —JACKSON MAC LOW From The Pronouns: A Collection of Forty Dances for the Dancers (New York: Station Hill, 1979) pg 14. Reproduced with the kind permission of Anne Tardos.
Stepping into the space of St Mark's Church-in-the-Bowery for the first time on Thursday September 13th 2012 for the first of three nights of performance, I realized that I had completely misconceived the production of this piece in my mind's eye. The usual boundaries between audience and performers were not be drawn as tightly, nor the progression of linear time to be adhered to as stringently as I had expected. When I entered, the performance had already started, with dancers dispersed, improvising, along the risers around the perimeter of the room and moving among the audience. It was intriguing to watch people's reactions to this—ranging from delighted participation to outright denial—and to sense how this intervention formed part of the meaning of the whole. This unsettling of habitual boundaries had actually begun for me even before arriving in New York. Clarinda Mac Low—the show's director—had offered an "Audience with the Audience" prior to the opening in the form of one-to-one meetings in person or via Skype. 40 Dancers is a staging of the extraordinary book of forty dance-instruction poems entitled The Pronouns: A Collection of Forty Dancers for the Dancers that her father, the late Jackson Mac Low (1922-2004) wrote in 1964. During our conversation Mac Low unfolded her intentions for the piece to explore how her lifelong participation in dance had made her aware of how art creates "little societies." In returning to dance after ten years of making performance art[1] she was treating her approach to her father's work as part of a larger research project on the anthropology of the dance world. Directing 40 Dancers was intended to honor her father but also to produce an auto-/biography of the dance world that made her, reflecting on twenty-five years of experience in art's making of forms, community and family. The piece was to be an experiment in the actions and networks of art—its own affect and bonds—and how it produces a different kind of intimacy beyond the standard connections, a result of what Mac Low calls a "being-with."
Levi Gonzalez and Anna Azrieli. Photo credit Ian Douglas.
A glance at the program told me not to expect an orderly sequential unfolding of the forty poems of The Pronouns. In fact there were fifty-nine dances in all—distributed more or less evenly over the three nights—with multiple versions of eleven of the poems. The total number of dancers actually turned out to be thirty-eight, although Mac Low told me that this figure had fluctuated a lot in the run-up to the opening. The programming itself had been given over to a chance-driven algorithm not unlike the one used in the composition of the original book. Mac Low and the staff of the space took pains to let the audience know that they should be prepared to move around in order to properly see all parts of the performance —advice which not everyone chose to heed as the event unfolded. I realized quickly that I would not be able to sustain note-taking in this space and would need to entrust my body with storing my impressions. This turned out to be an apt decision for a work so concerned with the body's intimate relationship with language. The first dance, Making Things New, began with only the announcement of a spotlight towards the entrance of the main space, where David Thomson and George Emilio Sanchez faced each other, with Thomson sitting on a chair. The duet unfolded as a kind of facing-off between the performers in which turns were taken to be an audience for each other via the chair position. One of the most memorable images of this exchange was Thomson's lewd snake-hips, parodied by Sanchez's deliberately gauche reply, which drew laughter from the audience. In this way, both performers developed a kind of intimacy with each other and with Mac Low's dance-poem, but without, at this point, any articulation of the actual language of the poem. Knowing the text of The Pronouns was both an advantage and a disadvantage over the three nights. Given that the poems were composed algorithmically using a constrained body of material (fifty-six index cards on which were written one to five actions—amounting to 173 different actions), certain actions recur over and over again, modulated according to a different pronoun for each of the forty poems. Thus the ability to recall even a small number of these actions gave access to a large number of different realizations. Reflecting on the first dance and comparing my memory of it to the poem, I interpret Thomson's hip-swagger as a possible response to the phrase "having waves," but I may be incorrect. Sanchez's reply might also have been a version of "pointing to a fact that seems to be an error," but I am unsure. One choice available to me as an audience member at the time would have been to follow each performance with my copy of the text and put myself in a position to analyze each performer's interpretation. I certainly wondered how audience members who did not know the text at all were responding to the performances, including those in which the poems were verbalized. The printed program included the texts of five of the dances which were performed more than once, but this may not have been obvious. As it was, I felt that attempting to read along with the performers would be a sure-fire way of not only missing a lot of the detail of their work, but also of getting very confused along the way. I felt fortunate to have read The Pronouns previously. I had also gotten to know one dance-poem very well by writing about it, and, as the piece developed over the three nights, more and more of the text's language appeared to remind me further of the other poems. In his accompanying notes to The Pronouns, Jackson Mac Low's instructions to would-be performers are surprisingly simple and straightforward, especially when compared to the performance instructions for some of his poems, which can run to several hundred words. Mac Low simply asks that performances of the work should clearly convey "the integrity of each dance—its having a definite beginning, middle, & end." He requires dancers to "find some definite interpretation of the meaning of every line" and to "carefully work out the time-relations between the various actions." Although Mac Low insists that "no line or series of lines may be left uninterpreted & unrealized simply because it seems too complicated or obscure to realize as movement (&/or sound or speech)," he certainly does not specify how these interpretations should be undertaken, thus giving considerable freedom to the performer. The consequence of this approach—and Clarinda Mac Low's decision to ask forty individual dancers to participate—was a huge range of interpretative styles, some of which came across to me as lucid expositions of the poems, while others seemed more elusive. Importantly, this did not give me a sense that some realizations could be considered "better" than others because of how clearly they interpreted each text, as they all obeyed Jackson Mac Low's wish to convey the integrity of each dance-poem. Back to Thursday night. As if to dramatize this range of interpretation, the next three solos constituted three different versions of the second dance Seeing Lines (see above), which turned out to be the most interpreted single dance-poem of the entire show, being danced no fewer than seven times by different performers over the course of the three nights. Carolyn Hall began by taking the phrase "she seems to come by wing" as a hilarious chicken-walk along the risers on which some audience members were still seated. After doing some remarkably precise hip rolls on her back (a possible version of "making her stomach let itself down"), she picked up her foot and licked the sole of it to enact "She disgusts everyone"! Paz Tanjuaquio joined Hall briefly before allowing her own solo to develop on the risers by throwing a barrage of angular shapes as her response to "wing" and offering the first verbal gesture of the evening in the single, clearly-enunciated word "Then," which appears in the text. Next was Abigail Levine, now in a corner of the space where she held one of the balcony-supports while looking up towards the ceiling before moving backwards in a circle towards the audience. Repeating this route several times, on each circuit she offered the development of a kind of skewed argument about facial hair and wiffle balls—demonstrating the phrase "reasons regularly" —while her response to "She disgusts everyone" was to lick the floor at her feet: like Hall's, a powerfully shocking gesture. This quick sequence of successive interpretations of the same piece was instructive in showing both commonalities and divergences in the performers' devising strategies. While one could perceive a strong link between Hall and Levine's use of their tongue to convey disgust, I don't recall a clear interpretation of this line by Tanjuaquio. Conversely, there was a clearer relationship between Hall's and Tanjuaquio's responses to "wing," than to Levine's version. The decision to factor in multiple versions, and indeed to stage them successively and in a subtly overlapping manner, revealed a confidence in the underlying poetics of the work. It demonstrated a trust that the text would deliver variety—though repetition reigned throughout—and showed a willingness to expose the artifice of the work by comparing different approaches. In conversation after the performance, Mac Low described her approach as "structured improvisation" and "loose choreography"—giving a sense of a production which also questioned the troubled boundary between choreography and improvisation. The contribution to 40 Dancers of the renowned dancer/choreographer, artist and writer Simone Forti also could be said to dramatize the tension between planned and chance action. Rather than performing texts from The Pronouns—the 1979 edition of which makes her a dedicatee[2]—Forti performed using Nuclei for Simone Forti, a pack of 108 cards with words and actions on them that Jackson Mac Low wrote for her in 1961. As Mac Low explained in an interview filmed at his apartment in 1981[3], he developed the cards for Forti to use after seeing her Dance Constructions at Yoko Ono's loft. Mac Low describes how Forti did three or four "wonderful" performances of the Nuclei at George Mancunias' gallery, including interpreting the word "angry" and the action "giving the neck a knifing or coming to give a parallel meal, beautiful and shocking" by shoving a very large conference table at the audience which she then chomped the edge of while shouting "hungry, angry." Mac Low claims that Forti had been working with autistic and schizophrenic children at the time and was using some actions based on them.
Simone Forti. Photo credit Ian Douglas.
In her improvisations Forti worked with words and phrases as much as movement. Each morning she wrote a text in response to the Nuclei in order to generate material for the evening's performance. In the first night's piece she asked, pausing to give each word its full weight: "What's the point of all this art?" As the piece developed, Forti's line of thought/movement included notions of delicacy: "something as delicate as a piece of bread you hold in your hand, you could squish it"—deftly miming the action. At one point she declared dramatically, "That's the point! Give me some!" Forti resolved the piece by opening her black hardcover notebook which had lain all the while within the performance space and reading her precursor text in which some of the themes and phrases from the improvisation could be heard—a generous and process-showing gesture. Because there are some actions which appear in both the Nuclei material that Forti was using and the fifty-six card deck which Mac Low used to write The Pronouns, it is tempting to interpret some images in this scene as a possible response to "going about and coming across art" and "delicate things." On the second night Forti—who worked in the same circular spot each night, slightly further than halfway up the left-hand side of the body of the church—unfolded an improvisation that seemed more explicitly autobiographical in its images, which were presented as if they were recollections. These included a description of a photograph of a woman with her mouth held open like "a wedge of watermelon," and also the image of garter snakes in the grass which "you could tame, they'd become your pet." Forti enacted the movement of the snakes in a very subtle and effective manner—reminding me of the line "handing or seeming to hand snakes to people" in The Pronouns. On the third night, her performance recalled a story about the famous zoologist Konrad Lorenz introducing a dog-fish into a tank of "lazy fish" in order to stimulate them to more normal levels of active behavior—at one point she suggested the darting moves of the fish with beautifully precise hand gestures. Again, each night Forti resolved the piece by returning to her notebook and reading the seed text which had formed the basis of the improvisation. In some ways this gesture felt almost too revealing—like exposing the secret of a conjuring trick—but at the same time it allowed a powerful understanding to settle on one's experience of the performance. In his afterword to The Pronouns, Mac Low explains at length the complex process of devising the Nuclei, based on the same fifty-six cards that he eventually used to write The Pronouns, but also drawing on a further 1200 cards on which imperative sentences were written which he had composed for his play The Marrying Maiden, a play of changes in 1960. Forti describes her own practice of using language and movement, which she calls "Logomotion," as an "improvisational dance narrative form in which movement and language spontaneously weave together to explore thoughts and feelings about the world."[4] The work of another distinguished participant in 40 Dancers—Sally Silvers—also explores the edge between movement and language in her collaborations with the poet Bruce Andrews. Like Forti, Silvers reprised earlier work with Mac Low in recreating a version of the sixteenth dance Being Red Enough which she had performed as part of a celebration of Mac Low's sixtieth birthday in 1982.[5] In her performance for 40 Dancers on Thursday night, Silvers appeared on the altar with two pink balloons (the "delicate things" of the poem), one strapped around her waist and the other free but held under her left arm. Slotting herself into the central space at the very back of the church, she created a stunning arabesque that was highly evocative of the phrase "being in flight." Next followed a series of movements to the left and right of the altar space—a kind of testing of the boundaries—in which Silvers stopped short of the wall, raised herself on her toes, put her arms out straight and allowed herself to fall forward so that her hands met the wall and stayed taut, while she remained on tip-toe—each time conducted with a look of comic anxiety towards the audience, which the balloons also contributed to! These actions felt that they also might illustrate "going about & coming across art"—as if the anxiety was about confronting a painting or even the very boundaries of the proscenium arch itself and wanting to touch it, though forbidden to do so. The actions might also have been a response to "doing something under the conditions of competition" as they seemed to pit the body of the dancer against the space in which she found herself. Silvers then hunched down to the right of the altar and rapidly unfolded a sequence of actions using the balloons, including "making a structure with a roof or under a roof" by holding the balloons above her head. Finally she stood up, turned to her right—parallel to the altar—and let herself fall forward onto one of the balloons, bursting it instantly with a noise like a rifle shot which echoed through the space. This extraordinary gesture was a brilliant response to the phrase "finally damaging something foolish" but perhaps also enacted some aspect of "shocks somebody," because of its surprising volume! In an interview I conducted with Silvers and Andrews the next day at Silvers' apartment in the East Village, she spoke about returning to her performance notes for her 1982 performance as part of her preparation for 40 Dancers. In the earlier version she had used two large industrial spools instead of balloons. Silvers explained her approach to Mac Low's text as finding the main verb in each line of the dance-poem and developing her movement sequence from there—trying to give a suggestion of the verb's context, but mainly focusing on the action. Silver's use of the pink balloons typified Mac Low and the other performers' playful approach in 40 Dancers. While we were constantly reminded not to take anything too seriously, the humor of the piece had the powerful effect of making it feel less separate from other areas of experience. Immediately after Silvers' performance, the sixteenth dance Being Red Enough received a second treatment in the form of a duet by Levi Gonzalez and David Thomson. The visual drama that they presented with Thomson's lean figure dressed in simple black and white elegance contrasting with Gonzalez's sturdy frame bedecked with colorful casuals, belied an underlying chemistry between them that made their duet utterly compelling. Gonzalez began what was effectively a solo on the floor which got more and more intense and involved as he got to his feet—swinging and arresting his momentum in powerfully interrupted arcs. Thomson—whose movement remained fairly neutral—simultaneously performed a narration about a child asking how people landed on the moon. As this developed, Gonzalez began to introduce objects into the space. Bringing in a flask, Thomson quipped "it was bigger than that!" and kept up his gently chiding comments as Gonzalez wrapped the flask in a plastic cushion cover and then laid out a long line of toilet paper on the other side of the space. Thomson's discourse then diverted itself onto the subject of molecules. He touched the exposed skin of a nearby member of the audience with his finger and announced: "When I touch you, I'm taking something of you with me, and leaving something behind. Are you concerned about that? And what I'm going to do with those molecules?" to hilarious effect. At this point the performers switched roles and Thomson went into a silent solo on the floor, making intense sensuous eye contact with members of the audience—myself included! Meanwhile, Gonzalez began his own narration on the development of the fetus in the womb, including a fascinating piece of information about how developing cells differentiate themselves from one another, so that cells destined to become heart cells separate from cells destined to become part of the brain. To the casual observer it would have been very hard to spot any common thread between these two versions of the same dance poem—a testimony both to the inventiveness of the performers and the suggestiveness of Mac Low's uncanny writing which seems both concrete and abstract at the same time. The permissive looseness of the interpretive relationship certainly worked at eroding the edges between performance and everyday life, providing the occasion for all sorts of diverse actions and behavior—literally from the sublime to the ridiculous—the dance-poems functioning like a kind of strange attractor, drawing the full gamut of human expression into its midst. In many ways family and kinship also function like a net, gathering disparate souls into relation, and this notion was given material form by the elegant "Kinship network sculpture" made by Peter Stankiewicz—a kind of giant cat's cradle of interlinked string and wiffle balls hung across the space between the balconies and becoming part of the work's set design. Mac Low's tribute to her father also involved her brother Mordecai-Mark and niece Susan Mac Low (Mordecai-Mark can be seen in Peter Moore's photographs of a 1965 production of The Pronouns) alongside mother and son duos Anna Azrieli with Ezra Holzman and Leyna Papach with Masumi Kouakou. On Thursday night, a tender and playful duet between a mother and child developed for the twenty-ninth dance Having an Instrument, portrayed by luciana achugar and three and half year-old Ignacio Achugar-Granoff, and another family performance of the thirty-eighth dance Keeping Sheep or Seeing an Offer came via Skype from Melbourne with Kim Sargent-Wishart and Llewelyn, Jarrah and Rico Wishart. For this last, the image was projected onto the altar space of the church while the children in the cast interacted with it, appearing to grasp dangling fragments of cut-up gummy worms being offered to the audience by the Melbourne family!
Clarinda Mac Low and Masumi Kouakou. Photo credit Ian Douglas.
The seventh dance, Being Earth, was also performed by a family team of poet E.J. McAdams and his daughters, five-year-old Jane and eleven-year-old Lyla. In this version, E.J. read the complete text of the piece while Jane and Lyla danced. Jane, wearing a beautiful wide-skirted crimson dress, bounced on a miniature trampoline—representing the earth—while Lyla ran around her sister. There were some touching, funny interactions between the two, especially around the line "doing something under the conditions of competition" in which they squared up to each other with relish, and the phrase "it hammers" which brought forth apt and gleeful actions. Jane brought the piece to a conclusion by sitting on the edge of the trampoline and reaching out toward her feet with the full length of her arms—evoking the last word of the text—"mouthing." There were many other memorable images and moments throughout this piece, not least my own opportunity to participate alongside other audience members in reading out part of the fourteenth dance Doing Something Under the Conditions of Competition. (I then worried about my performance!) The overriding impression of the whole was of a kind of liberating anarchy held within the firm but gentle arms of community. Indeed, it was this kind of contradictory tension that animated the piece—its dissolving of the boundaries between audience and performer, body and language, linear time and cyclical time, planned and spontaneous action, performance and everyday life. For Mac Low, the work was an "esthetic by-product of a social situation, where the provisional community formed by a shared project is as important as the performance itself." In accordance with this view, Mac Low startled me by suggesting that the other work I had been doing on my visit to New York—interviewing Silvers and her collaborator, the poet Bruce Andrews and taking a workshop with Forti—was also a part of the larger overall piece conceived of in this way. The real pleasure for me of 40 Dancers lay in its capacity to explore relationships of power in a playful yet penetrating manner. Its humor lay in transgressive releases of tension, but this was far from simple catharsis. Instead the piece involved one in a deep engagement with one's social intelligence: activating an ethics of attention. I often felt as if I was witnessing, and participating in, a ritual from another world—one uncannily similar to our own, but with its social rules radically altered. If this suggests a utopian aspect to the piece, it was tempered by a much more pragmatic approach to politics, grounded in a sense of the deep potential held in the everyday as we move about our lives, tending to our art, work, families and community. If the community that Mac Low and her dancers convened was only a provisional one, it has created effects which will endure for a long time to come. Scott Thurston is a poet and mover based in the North West of England where he runs a Masters in Creative Writing at the University of Salford and practices Five Rhythms and Contact Improvisation. His books include: Reverses Heart's Reassembly (Veer Books, 2011), Of Being Circular (The Knives Forks and Spoons Press, 2010), Internal Rhyme (Shearsman, 2010), Momentum (Shearsman, 2008), and Hold (Shearsman, 2006). He writes critically on contemporary poetry, co-edits the Journal of British and Irish Innovative Poetry and co-organizes The Other Room poetry reading series.
[1] See Mac Low's 2012 – "My Year in Dance or: A Farewell/Comeback Tour" in Movement Research: Critical Correspondence, viewable at: http://www.movementresearch.org/criticalcorrespondence/blog/?p=5040.
[2] Alongside Merce Cunningham, Trisha Brown, Meredith Monk, Kenneth King, Lanny Harrison and Fred Herko.
[3] The Judson Project: Jackson Mac Low (48 minutes, b/w, 1983). Videotape project produced by Bennington College, 1983. Interview by Michael Rowe, taped at Jackson Mac Low's loft, New York City in 1981.
[4] See interview with Simone Forti in Contact Quarterly, Vol. 37, no. 1 (Winter/Spring 2012).
[5] The day before 40 Dancers opened—12 September 2012—would have been the poet's ninetieth birthday.
Keywords: Clarinda Mac Low, Jackon Mac Low, Judson, Judson Church, Scott Thurston
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1st Day of December (Advent) - Cherry Colors - Cosmetics Heaven!
This is the very first Advent post. I am opening the season of the Advent calendars with it ;).
This year I have two calendars to open. One is from Essence and the other is by Balea. I also got my kid the Dragon advent calendar, so I may include that one too.
I will be posting daily the pictures of what I got on my Facebook and Instagram. Check them out.
Also, at the end of the Advent period, I will make a long picture heavy post with all the pictures of what I got in my calendars ;).
Read more to see the manicure with this polish and what as hidden in my Balea window :).
This is a beautiful dark green cream polish. It applies like a dream and if you are careful, one coat could be all you need. I was surprised to find this one under my first window, but I love it.
I know that Essence has the products (polishes) mixed in each of the calendars, this means that each day you get a different polish than your friend!
I am so happy that this is the first product we got. Why? Not because I'm such a fan of body milks, no. But because it was weighing down the calendar and now that it's out, the calendar isn't crooked anymore (on the wall).
Do you like such posts?


text:
All faiths, Pluralism, Respect, United
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©Paul Jeffrey/WCC
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