Reconstruction: 3 x solo Lucinda Childs. Three works of Lucinda from 1960s will gain a new stage life thanks to Ruth’s performances.

29 September 2017, 20:30
60 min

50, 30 PLN

Studio Theatre - main stage
Kup bilet


Three solo works of Lucinda from 1960s will gain a new stage life thanks to Ruth’s performances. It was up until 1990s that Europe kept on discovering the achievements of the American experimental dance of the 1950s and 60s, with Lucinda Childs as one of its most prominent figures. When finishing her brilliant career, this innovative choreographer and dancer “bequeathed” Ruth Childs,  her niece and a dancer, too, three of her early solo choreographies which were developed at the time when New York was buzzing with creative energy. In 2015, Lucinda and Ruth started their collaboration on reconstruction of these solo dance performances.

In Pastime (1963) the dancer imitates and processes various spatial effects inspired by… taking a bath, using a stretch fabric she wraps herself in. In Carnation (1964), the performer deconstructs her own image, step by step, by means of everyday objects such as kitchen washcloths, hair rollers, metal basket or garbage bag. Finally, in Museum Piece (1965), the artist enters the painting (”Circus” by a French painter Georges Seurat) and uses her own body, words and sense of humor in order to describe the picture as faithfully as possible. As Ruth Childs says: ”We attempted to remain as close to the original versions as we could, knowing that there are no film recordings of her work with Judson Dance Theater. Lucinda provided me with very precise choreographical instructions, She shared some anecdotes and archival materials with me. And then she gave me with space to find my own way to present those solos.”
By performing them anew, Ruth Childs not only pays homage to her outstanding relative and shares her family and artistic heritage with others, but most of all, she reaches to the past and gives life to some historic performances. Childs explores how time handles such ethereal matter as dance. Is the revolutionary choreography from half a century ago, which was at the time breaking away from common contemporary dance techniques and patterns, still working? Can you ”stop the time” by replicating it meticulously? Judging from today’s audience reactions, Lucinda Childs’ dance experiments are still astonishingly fresh and keep on surprising us with Dadaist humor and numerous references to Marcel Duchamp’s art.