| Lucinda Childs* Choreographer |
| Childs herself remains timeless, centered, as ever the unravished bride of quietness. Is that patrician hauteur, or unbearable shyness? It doesn't much matter. Hers is a bred-in-the-bone racehorse beauty, and it is, as ever, marvelous to see. Just like her best work, Childs's very presence is somehow (to the likes of me, at least) chastening in its exquisite abstemiousness, its complete lack of excess, either physical or emotional. When Childs faces upstage to dance with her own shadow, her admirable back does not invite. And why should it? To all those out in the house applauding like mad at her new gimmicks, I say - nay, I beg - for heaven's sake, let Lucinda be Lucinda. |
| Dance: A new step for Lucinda Childs/ David Stevens International Herald Tribune
Wednesday, February 19, 2003
GENEVA Lucinda Childs has been around for a while and has the CV to prove it, beginning with the early days of postmodern dance, choreographing since 1963 and with her own company since 1973, collaborating with Robert Wilson and Philip Glass in "Einstein on the Beach" and with Peter Stein in his production of Schoenberg's "Moses und Aron," just to touch a few bases. |
| EINSTEIN ON THE BEACH : THE CHANGING IMAGE OF OPERA-The four-act opera Einstein on the Beach, a collaboration between director Robert Wilson, composer Philip Glass and choreographer Lucinda Childs, was presented in 1984 at the Brooklyn Academy of Music as part of the Next Wave Festival. |
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| In the Middle, Somewhat Elevated
Choreography: William Forsythe Music: Thom Willems World Premiere Choreography: Lucinda Childs (Source) |
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| Lucinda Childs, �Vehicle�, 1966
Photography | Photograph: Peter Moore | � |
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| Presence |
| SFO 2005-2006 Season Doctor Atomic |
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| Anyone can Google and get this infor- mation that I have placed here in one place for convenience. |
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| Lucinda Childs notes for the Corn Dance - Act II, scene iii - Doctor Atomic - 2005 ". . . some of the choreography co-exists with the music in an open-ended, semi-abstract fashion, which permits the dancers or dancing to blend in . . . while adding a dimension that is somewhat removed in time and space from the narratiaave text of the opera" |
| Hazy reproduction from distributed program notes. |
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