Monday, April 2, 2012

Choreographic Influences


Alwin Nikolais learned music from studying piano and accompanying silent films. He learned his early performance skills by watching German dancer Mary Wigman perform. As a young child, Nikolais was also worked at a theater where he was extensively exposed to puppetry. His later choreography mimicked the innovation set forth by Loie Fuller who utilized costume, lighting and stage design to transform the performer from a person dancing to something more abstract. He studied dance at Bennington College where he was exposed to Hanya Holm, Martha Graham, Doris Humphrey, Charles Weidman, Louis Horst, among many others. His first ballet, Eight Column Line, was a commission from Truda Kaschmann in 1940. It was originally presented at the Hartford Society, some of its members included Salvador Dali and Leonide Massine.

Doris Humphrey
Martha Graham
          
Hanya Holm
         
Alwin Nikolais- "Noumenon"

               During World War II, Alwin Nikolais served in the Army as a master sergeant. While on active duty, he was in charge of criminal investigation. After the end of the war, Nikolais returned to New York City to resume studying with Hanya Holm; he eventually became her assistant. He taught at Colorado College during the summers, and the rest of the year lived and taught at Holm’s school in New York City.
               In 1948, Alwin Nikolais was appointed director of the Henry Street Playhouse. Here he formed the Playhouse Dance Company, which was later renamed the Nikolais Dance Theatre. This afforded Nikolais with the opportunity to present his own works and ideas. He enjoyed portraying the dancers as part of their environment, as abstract additions to the stage rather than simply performing on the stage. The mover becomes a part of their environment. He is best known for redefining the art of dance as “the art of motion which, left on its own merits, becomes the message as well as the medium.” It was here at the Henry Street Playhouse that Nikolais also met Murray Louis, the company’s leading dancer, collaborator and longtime friend.
               Nikolais Dance Theatre achieved national recognition in 1956 when they received their first invitation to the American Dance Festival. Then in 1968 the company achieved international greatness when they were asked to perform in Paris with Théâtre des Champs-Élysées. The company also maintains a long standing relationship with the Théâtre de la Ville since 1971 and even now despite Alwin Nikolais’ death. In December 1980, Alwin Nikolais was choreographing his ninty-ninth work, Schema, for the Paris Opera, and at the same time was working with Gian Carlo Menotti on an opera to be performed at the Vienna Staatsoper. 
               Alwin Nikolais has received several prestigious commendations all around the world for his work in the arts. He is known as the “father of multi-media theater.” He is also often referred to as  the “American Patriarch of French Modern Dance”, and was knighted in France’s Legion of Honor and a commander of the Order of Arts and Letters. Almost all of Nikolais' choreography utilized break through technology of its time including costume design, lighting design, set design, and musical composition. 

8 comments:

  1. This explanation of Nikolais' choreographic influence was very informative. I was not aware who he was all influenced by and studied with, besides Mary Wigman. I watched the video posted under your biography to see some of his work since you mention how he is known for the technology used within his work. It really is astounding to see how he takes in mind every single aspect of the piece to create such beautiful work.

    -Dani Koeck

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    1. Dani,
      I agree that the use of multimedia is expertly blended with Nikolais' works. He is truly a master of utilizing every aspect of movement (from gesture to leaps) and technology (from lighting to costume)to create unique and beautiful works of performance art. I think that the only real down side to his work is that most of it has to be performed in a theater setting and is difficult and expensive to travel with these works. I am glad that you are enjoying the blog. -Julie

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  2. I found it interesting the like Limon, Nikolais was in a war and served. Do you know if Nikolais was drafted like Limon was? I also wonder if Nikolais had the same philosphy as Limon did when it came to serving, which was basically to use the army as a resource/inspiration for dance.
    Kym

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    1. Kym,
      Everything that I have read seemed to indicate that Nikolais was drafted into the army when he served in World War II. None of his works have a sense of the "Hero", like Limon's works did, nor is there really a sense of tragedy, loss, or narrative. This all leads me to believe that Nikolais did not in fact use his experience in the armed forces as inspiration for creating new movement/works. Nikolais seemed more interested in discovery, shapes, innovation, and movement for movements sake. I hope that this was helpful.
      -Julie

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  4. I found this very interesting, because in many ways it seems that Nikolais and Graham had quite a bit in common, as far as their determination to make their vision a reality and being extremely successful in doing so. To oppose this, however, it seems that their style and distinct visions were very opposite. When Martha would stage a piece, it wasd very much just that...made exclusively for the stage, featuring none other than herself, whereas Alwin had a broad vision, one that took the dancers out of the piece completely and submersed the audience into a different world than dance. It's very interesting to me to compare the two totally different artisitc visions that were happening during the same exact time period, with the same social influences happening. It really shows how indeviduality inspires art.

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    1. I agree, I feel that Alwin Nikolais was very far ahead of his time. As we were discussing in class, Martha Graham's ideals worked with the other Early Moderns (choreographer as a hero, narrative, etc.). Whereas Alwin Nikolais embraced a more Post-Modern approach to his works (lack of narrative, removing the choreographer from the spot light, etc.). As you mention before, there are a lot of similarities between these two. Some examples are the use of new, innovative types of music, a codified technique, and aspects of minimalism.
      -Julie

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    2. Very curious about Eight Column Line. Are there any existing photographs or descriptions of the work?

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