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Mark Morris: The Soul of Androgyny
| Article
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18356 |
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Section : |
THE ARTS
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| Issue
Date : |
9 / 1990 |
1,006 Words |
| Author
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Lawrence O''Toole
Lawrence O'Toole writes for Entertainment Weekly and other
national publications. |
Modern artists, unlike the majority of their forerunners, seem to be terrified of real emotion. Hence, there is a tendency to deadpan, especially among the young generation of artists; or to be condescending toward older art. This is true particularly of the popular arts (the fifties, notably, seem to be a ripe ground for plucking). The result is a lack of fresh and original work. Most modern art seems to be a commentary on other art, forever removed.
A perfect example of this is the dancer and choreographer Mark Morris, specifically the Dido and Aeneas he brought to the Brooklyn Academy of Music (BAM). The Morris piece, a “rethinking?of the Henry Purcell opera, was the second in BAM's truncated opera season, the first being the Theatre de la Monnaie's production of Mozart's early opera La Fina Giardiniera, which can serve perfectly as a point of comparison. Both hailed from Brussels where Morris' reputation as the Bad Boy of Dance has flowered in profusion.
Focus on Morris
Morris' Dido and Aeneas is more about Mark Morris than it is about Purcell's glorious work. Fair enough. It is also not about Dido and Aeneas; it's about Mark Morris and how clever he is - and how superior he is to the material. From Morris' mouth to God's ear?
Purcell's hour-long opera, written from a libretto by Nahum Tate, is one of opera's first “grand?works. Though the physical scale is limited, the emotions in Dido and Aeneas are big, passionate, and expansive, not to mention intense. Dispossessed of her homeland, Dido, the Queen of Carthage, falls in love with
... (1993 of 5854 Characters)
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