Holley Farmer

[from this first bit from previous post, Apollinaire asks:] Paul, did you see Cunningham’s 2002 “Loose Time,” with that incredibly impossible solo by Holley Farmer at its apex? It seems to me that it was made EXACTLY according to the principle of legato for one leg, allegro for the other, and it was so exciting that the audience CHEERED: a Cunningham audience cheering smack in the middle of a dance. never witnessed that before.
I would love to see a whole dance spelled out according to principles like that, and whatever associations/analogies they raise for the whole ensemble.
Paul responds: it was ME that cheered……
at least, in Berkeley, I was the only one. it was funky — literally, the weight and attack that belongs to funk, that’s what I felt about it. I’ve only seen it once.
Apollinaire adds: In New York, at the State Theater, there was a small contingent of cheerers. They were seated in the first balcony, in the usual balletomane corner, and my first thought was that the virtuosity of Holly Farmer’s solo was so extreme that the the shades of the usual occupants of those seats had urged the present audience on. A nice palimpsest.

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