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houses, trees, chairs and people on their canvasses: they are brushing on paint in pure colors and shapes or they are painting parts of familiar things in strange relationships to each other. When you look, you react to the picture in your own individual way. You do not have to understand it because it has no definite or particular meaning. Its (purpose is to stimulate iyou to look more sharply, listen more attentively, and think more deeply. And so with Merce Cunningham’s choreography you will not see »boy meets girl* or »the triumph of virtue«. You will see beautiful bodies move with consummate skill and in ways which will be new and always interesting to watch. They will move in space, sometimes quite separately and sometimes making interesting patterns together. You will know whether they are funny, serious, gay or grim, but you will not follow stories and will recognize no psychological problems. The human body in motion in different moods and speeds and intensities is what you will see. As we all have bodies and we all move, we need no education to react to a body in dance movement. The meaning of the movement is expressive to us through our memory of having moved ourselves. What It expresses is determined by each one in the audience individually. Mr. Cunningham's use of music and sound with his dance is also quite different from the usual. He has collaborated for many years with John Cage, a composer known world wide for experiments in music who believes that all the sounds from our noisy modern world are interesting. So his music is not what we usually call tuneful or harmonious. It opens our ears to the variety of sounds around us, sounds which ordinarily we do not listen to. What he composes for Cunningham's dances are not a prop for the dance to lean on. It sometimes creates a background for the movement for the dancers and sometimes acts as a sort of partner of the movement. This dance company has performed all over the world and has toured in most states in this country too. Mr Cunningham has received awards in Paris and Stockholm for his choreography, and has danced a longer season in London than in his own land. Nevertheless the kind of dancing that you will see this company perform could only have come out of 'America. Its freedom and untraditional newness of approach are the products of the vigor and spaciousness of our country. Perhaps that is why foreigners like it so much. It stirs them.

događaj Ideja o DOGAĐAJIMA nastala je iz predstave održane u neuobičajenom prostoru za igru (Dogadaj broj 1 održan je u Muzeju 20. veka u Berlinu, na turneji 1964.). Otvoren prostor, okružen publikom sa tri strane, predstavlja situaciju u kojoj bi pauza bila mučna i neugodna, jer »scena« nije opremijena, a niti se mogia adaptirati za konvencionaini raspored muzičara, rasvete, zavesa, uiaza I izlaza. Danas je ova ideja prosirena tako da omogućava održavanje predstava u gimnastičkim halama i studentskim zgradama koje se inače upotrebljavaju za sportske priredbe ill druge studentske aktivnosti. Da bismo bili fleksibilniji u prllazu ovim prostorima koji se međusobno sasvim razlikuju, I da bi omogućili veću pokretIjivost trupe Iz grada u grad, dekor je pravi jen od onoga ito se nađe na lieu mesta, bez obzira da li je to košarkaško igraiište ili studentska menza. Ovi Događaji sadrže balete i odlomke iz repertoara, a cesto se Izmisle i novi pokreti za određeno vece. U njima nema pauza niti objainjenja. Le jugement est l’oeuvre. (Merce Cunningham)

event The Event idea was originally prompted by our being presented with an unusual performing area (Event 1 was in the 20th Century Museum in Vienna; 1964 tour). An open room with the audience on three sides (space) ; a situation where an intermission would have been awkward and uncomfortable (time); and a “stage” not equipped nor allowing for conventional arrangements of musicians, lighting, exits and entrances, curtains, etc. In recent years, this idea has been extended to allow performances in gymnasiums and student buildings ordinarily used for sports or for other student activities. In order to be flexible in our approach to these, as each area is quite different one from another, often with the spectators on four sides, and to allow for a less cumbersome travel situation, the decor has been the building itself with whatever appurtenances

ti might contain, be it a basketball court or a student lounge. As we have continued, we have on occasion, where the dimension allowed, added a decor, one of the sets from the repertory, to be placed in the area freely and moved during the performance. If we want to be flexible, then we must not preclude the theatre as it has been known and is still commonly used a playing space in front of spectators. Now, as a consequence, these Events, are sometimes given in regular performing situations also. Each Event is arranged for the particular stage where it will be given. Presented without intermission, these Events consist of complete dances, excerpts of dances from the repertory, and often new sequences arranged for the particular performance and place, with the possibility of several separate activities happening at the same time, to allow for, not so much an evening of dances, as the experience of dance. (Merce Cunningham)

cmninghamova estetika Morate voteti Igni da bi ste živeli sa njom. Ona vam niSta ne uzvraća, noma ruikopisa koji biste odbaciiì, noma slike da je okačite na zid ili u muzeje, nema pesme koju biste Stampali i prodavali, ni šta oslm jednostavnog prolaznog trenutka kada se osećate zi vim. To nije za n esta In u dušu. Merce Cunningham Osam igrača u dronjavlm kostimima krece se po sceni u promani jivom ritmu zapanjujućih pokreta, Dvadeset i pet jastuka od alum ini jumske folije napunjenih heUjumom lebdi iznad -i oko igrača sa takvom poletnošću koja izgleda izražava lirski kontrapunkt slučajnog pokreta. čudni zvuoi kogi predstavljajiu zov ptica i vodopade dolaze iz pariture elektronske muzike. Deio se zove Šuma kiša; dekor je izradio Andy Warhol, a muziku David Tudor. To je jedna od šest ìgara Meroe Cunningham-a I njegove trupe koja ée se izvodìti u Usiner auditorijumu u utorak i sredu uveče. Cunningham se vratio u ovaj grad posle desetogodišnjeg odsustva za koje vreme je stekao Internaoionalni ugled. S obzirom da je njegova pređašnja slava biia poremećena polemikom kaju su pratili