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Twelve Men for the Nineties
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17947 |
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Section : |
THE ARTS
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| Issue
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5 / 1990 |
1,781 Words |
| Author
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Otis Stuart
Otis Stuart has written about dance for the New York Times,
the Village Voice, and Interview. |
The Joyce is a 400-seat theater in the Chelsea section of Manhattan. Host year-round to dance performances, it is a sleek, comfortable house, art deco in design with every seat aimed for maximum visibility. If the bigger uptown venues, such as City Center, New York State Theater, or the Metropolitan Opera House, are to dance in New York City what Broadway is to the theater, then the Joyce is an important part of dance's off-Broadway, one of the places where choreographers and companies who have paid their first dues can move into line for the big time.
This year, the Joyce's annual winter festival showcased an eighties phenomenon that could prove as valuable to American dance as the discoveries of off-Broadway have been to out theater. The festival was called ManMade and featured two weeks of performances by the companies of a dozen young American choreographers - all of them men. Greg O'Brien, Andy Horowitz, and Paul Gordon are the collaborative trio heading the Second Hand Dance Company, and the other nine choreographers - Mark Dendy, Alfred Gallman, Ralph Lemon, Barry Martin, Stephen Petronio, Peter Pucci, Randy Warshaw, and Bill Young - head their own troupes.
Founding Mothers
The very idea that American dance has a dozen young men with their own well-established companies was the festival's first surprise, confirming the eighties as the decade when men began to multiply in dance. Until then, American modern dance was dominated, if not defined outright, by its women. Ruth St. Denis and Isadora Duncan began the whole thing early in the century, and their mantle was taken up by a second generation of founding mothers, chief among them
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