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T2 Repertoire

3 EPITAPHS

Opus Number:  4
Music:  Early New Orleans jazz
Costumes:  Robert Rauschenberg
Lighting:  George Tacet
Date First Performed:  March 27, 1956
Notes:  “A parade of faceless, gray-leotarded figures to early New Orleans jazz — funeral music — is one of the funniest dances anywhere.  An essay on posture and gesture — and genius.” – Janice Berman, Newsday

Photo: Paul B. Goode

Photo: Paul B. Goode

3-Epitaphs_rep2

Photo: Paul B. Goode

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AIRS

Opus Number:  68
Music:  G.F. Handel
Costumes:  Gene Moore
Lighting:  Jennifer Tipton
Date First Performed:  May 30, 1978
Notes:  “Airs is a new and distinctive vintage, of mellowness and classic finish that give it a sublime autumnal glow. Incredibly diversified and complex. The whole work is a treasure.” – Alan M. Kriegsman, Washington Post

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

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ARDEN COURT

Opus Number:  73
Music:  William Boyce
Set and Costumes:  Gene Moore
Lighting:  Jennifer Tipton
Date First Performed:  April 15, 1981
Notes:  “One of the few great art works created in [the 20th] century… exploring a new movement field of love and relationship. The women dance into the men’s arms as if Shakespeare had only written Romeo and Juliet the day before yesterday. I am convinced that this is one of the sentimental works of our time… something extraordinary in the history of dance. It bounces to a different drummer.” – Clive Barnes, New York Post

Arden-Court_rep1

Photo: Paul B. Goode

Arden-Court-rep2

Photo: Paul B. Goode

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AUREOLE

Opus Number:  30
Music:  George Frideric Handel
Set and Costumes:  George Tacet
Lighting:  Thomas Skelton
Date First Performed:  August 4, 1962
Notes:  “Aureole, perhaps his first major success, was the first time Taylor combined his loping antelope style of movement with baroque music, and its grace and individuality instantly spun into orbit throughout the world of dance. There is an interestingly variegated luminosity of spirit that recalls fluffy clouds on Shakespeare’s summer’s day.” – Clive Barnes, New York Post

Photo: Paul B. Goode

Photo: Paul B. Goode

Aureole Heather retouched PBG web

Photo: Paul B. Goode

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COMPANY B

Opus Number:  96
Music:  Songs sung by the Andrews Sisters
Costumes:  Santo Loquasto
Lighting:  Jennifer Tipton
Date First Performed:  June 20, 1991
Notes:  Just as America began to emerge from the Depression at the dawn of the 1940s, the country was drawn into the Second World War. In a seminal piece of Americana, Paul Taylor recalls that turbulent era through the hit songs of the Andrews Sisters. Although the songs depict a nation surging with high spirits, millions of men were bidding farewell to wives or girlfriends and many would never return from battle. The dance focuses on such poignant dualities. Young lovers lindy, jitterbug and polka in a near manic grasp for happiness while in the background shadowy figures – soldiers – fall dead. Among the sections of the dance, the one choreographed to “Boogie Woogie Bugle Boy (of Company B)” is carefree until the moment the bugler is shot; the one set to “I Can Dream, Can’t I?” tells of a young lady’s affections for a soldier an ocean away who, for his part, reaches out to a comrade in arms. The dance ends just as it began, with “Bei Mir Bist du Schön” – but the world has clearly changed.“Evokes the exuberant rhythms of the ’40’s as well as the grim and persistent shadow of war. But even more vividly, it honors Taylor’s magnificent dancers. Some of the most glorious dancing to be seen anywhere…” – Laura Shapiro, Newsweek

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

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DUST

Opus Number:  66
Music:  Francis Poulenc
Set and Costumes:  Gene Moore
Lighting:  Jennifer Tipton
Date First Performed:  June 1, 1977
Notes:  “The man is a genius [which he demonstrated] again with a fantastic new and macabre ballet. Remarkably well danced, with the company moving through this Goya-like vision of hell-in-life with the even-humored energy of athletes.“ – Clive Barnes, New York Times

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

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ESPLANADE

Opus Number:  61
Music:  Johann Sebastian Bach
Costumes:  John Rawlings
Lighting:  Jennifer Tipton
Date First Performed:  March 1, 1975
Notes:  An esplanade is an outdoor place to walk; in 1975 Paul Taylor, inspired by the sight of a girl running to catch a bus, created a masterwork based on pedestrian movement. If contemporaries Jasper Johns and Robert Rauschenberg could use ordinary “found objects” like Coke bottles and American flags in their art, Taylor would use such “found movements” as standing, walking, running, sliding and falling. The first of five sections that are set to two Bach violin concertos introduces a team of eight dancers brimming with Taylor’s signature youthful exuberance. An adagio for a family whose members never touch reflects life’s somber side. When three couples engage in romantic interplay, a woman standing tenderly atop her lover’s prone body suggests that love can hurt as well as soothe. The final section has dancers careening fearlessly across the stage like Kamikazes. The littlest of them – the daughter who had not been acknowledged by her family – is left alone on stage, triumphant: the meek inheriting the earth.“When I left the theater… I was thinking that I’d seen a classic of American dance. It confers a mythic dimension on ordinary aspects of our daily lives – it’s unfaked folk art. The dancers, crashing wave upon wave into those falls, have a happy insane spirit that recalls a unique moment in American life – the time we did the school play or we were ready to drown at a swimming meet. The last time most of us were happy in that way.” – Arlene Croce, The New Yorker

Esplanade_rep2

Photo: Paul B. Goode

Esplanade_rep2

Photo: Paul B. Goode

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FUNNY PAPERS

Opus Number:  101
Choreography:  Sandra Stone, Mary Cochran, Hernando Cortez, David Grenke, Andrew Asnes and Patrick Corbin. Amended and combined by Paul Taylor
Music:  Novelty tunes
Costumes:  Santo Loquasto
Lighting:  Jennifer Tipton
Date First Performed:  October 12, 1994
Notes:  “A mega-hit…The recordings are side-splitting, the choreography is hilarious, the dancers are terrific…A new work so comic in its intensity that it would be a grave mistake to consider it only lighthearted…Taylor’s dedication [to the comics] speaks exactly to the human need that this dance satisfies so brilliantly and shrewdly” – Anna Kisselgoff, New York Times

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

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IMAGES

Opus Number:  65
Music:  Claude Debussy
Costumes:  Gene Moore
Lighting:  Mark Litvin
Date First Performed:  January 19, 1977
Notes:  “All two-dimensional friezes, human endeavor frozen in time, and oracular obsolescence. It carries the feel of pottery shards, the dust of the British Museum, the surprise of a fall through the shaft of a buried gravesite in Tuscany where the flashlight reveals a brilliantly hued mural left by [Minoans].” – Allison Tracy, Berkshire Eagle

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

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PIAZZOLLA CALDERA

Opus Number:  106
Music:  Astor Piazzolla and Jerzy Peterburshsky
Set and Costumes:  Santo Loquasto
Lighting:  Jennifer Tipton
Date First Performed:  June 12, 1997
Notes:  Neruda wrote of poetry that mirrors “the flawed confusion of human beings,” poetry “worn away as if by acid by the labor of hands, impregnated with sweat and smoke, smelling of lilies and of urine, splashed by the variety of what we do, legally or illegally… as impure as old clothes, as a body, with its foodstains and its shame, with wrinkles, observations, dreams, wakefulness, prophecies, declarations of love and hate, stupidities, shocks, idylls….” He might have been describing the predatory dance that originated in the brothels of Buenos Aires at the turn of the 20th Century: tango. The music of tango – with Spanish, Italian, Indian, African and Jewish influences – was taken to new heights by Astor Piazzolla. Without a single authentic tango step, Paul Taylor captures the essence of tango culture. In a dimly lit dive, working class men and women confront each other in sizzling sexual duets and trios: men with women, men with men and women with women. Two men too drunk for conquests perform a loopy dance as lamplights sway dizzily overhead. A woman who has searched desperately for a partner but failed to find one, collapses – as if mortally wounded by a night without passion.“Stunning. Taylor looks at the attitudes implicit of the tango – as sexual game, as social identity – and reshapes them. Seethes and flares with sexuality and develops a huge erotic charge. One of Taylor’s most astonishing (even for him) creations.” – Clement Crisp, Financial Times of London

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

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PROFILES

Opus Number:  71
Music:  Jan Radzynski (commissioned score)
Costumes:  Gene Moore
Lighting:  Mark Litvin
Date First Performed:  July 28, 1979
Notes:  “Mr. Taylor has created one of his most essential evocations of evil. The four dancers have come to seem bent on some dark private ritual, figures who have stepped off an archaic vase, loose in a world with which they are most terrifying at odds.” – Jennifer Dunning, New York Times

Photo: © Lois Greenfield

Photo: © Lois Greenfield

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RUNES

Opus Number:  62
Music:  Gerald Busby
Costumes:  George Tacet
Lighting:  Jennifer Tipton
Date First Performed:  August 13, 1975
Notes:  “A major creation… The enormous pathos that arises in the final moments of [this striking heroic poem], when all the elements of the piece are combined and restated and still the momentum leaps ahead – this pathos comes from the unstoppable energy of what Taylor has set in motion.” – Arlene Croce, The New Yorker

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

Photo: Paul B. Goode

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