Paul Taylor Dance Company
April 26–29, 2017 | 7:30pm
Sunday, April 30, 2017 | 2pm
YBCA TheaterVenue Information
Repertoire for Programs A and C have changed.
Program A (Wednesday, April 26):
The Open Door (2017) [West Coast Premiere]
Program B (Thursday–Friday, April 27–28):
Book of Beasts (1971)
Lines of Loss (2007)
Black Tuesday (2001)
Program C (Saturday–Sunday, April 29–30):
Danbury Mix (1988)
Ab Ovo Usque Ad Mala (From Soup to Nuts) (1986)
To support the April 26 performance as a Concert Partner, call 415.677.0336.
About This Performance
A national treasure, Paul Taylor Dance Company has been described as a stunning burst of momentum and a cascade of emotion, moving powerfully and powerfully moving. Taylor’s enduringly popular works are a brilliant fusion of bravura dancing, profound emotional insight and glorious musicality that have brought audiences around the world equal measures of message and mastery.
“The American spirit soars whenever Taylor’s dancers dance.”
—San Francisco Chronicle
“Watching his dances isn’t like taking a vacation from life, it’s a reflection of it: the pretty, the ugly and, always, the weird. ”
—The New York Times
Dancemaker Paul Taylor, one of the seminal artists of the 20th and 21st Centuries, continues to shape the homegrown American art of modern dance that he has helped define since he became a professional dancer and pioneering choreographer in 1954. After 60 years as Artistic Director of the Paul Taylor Dance Company, he blazed a new trail in 2014 by establishing an institutional home for the art form: Paul Taylor’s American Modern Dance. Mr. Taylor will curate and present great modern dances of the past and present alongside his own works at Lincoln Center and other preeminent venues throughout the world, and nurture a new generation of choreographers so that modern dance flourishes long into the future.
At an age when most artists’ best work is behind them, Mr. Taylor continues to win public and critical acclaim for the vibrancy, relevance and power of his dances. He offers cogent observations on life’s complexities while tackling some of society’s thorniest issues. While he may propel his dancers through space for the sheer beauty of it, he more frequently uses them to illuminate such profound issues as war, piety, spirituality, sexuality, morality and mortality. If, as George Balanchine said, there are no mothers-in-law in ballet, there certainly are dysfunctional families, disillusioned idealists, imperfect religious leaders, angels and insects in Mr. Taylor’s dances.
Paul Taylor was born on July 29, 1930—exactly nine months after the stock market crash that led into the Great Depression—and grew up in and around Washington, DC. He attended Syracuse University on a swimming scholarship in the late 1940s until he discovered dance through books at the University library, and then transferred to The Juilliard School. In 1954 he assembled a small company of dancers and began to choreograph. A commanding performer despite his late start in dance, he joined the Martha Graham Dance Company in 1955 for the first of seven seasons as soloist while continuing to choreograph on his own troupe. In 1959 he was invited to be a guest artist with New York City Ballet, where Balanchine created the Episodes solo for him.
Mr. Taylor has made 140 dances since 1954, many of which have attained iconic status. He has covered a breathtaking range of topics, but recurring themes include life and death; the natural world and man’s place within it; love and sexuality in all gender combinations; and iconic moments in American history. His poignant looks at soldiers, those who send them into battle, and those they leave behind prompted the New York Times to hail him as “among the great war poets”—high praise indeed for an artist in a wordless medium. While some of his dances have been termed “dark” and others “light,” the majority of his works are dualistic, mixing elements of both extremes. And while his work has largely been iconoclastic, he has also made some of the most purely romantic, most astonishingly athletic, and downright funniest dances ever put on stage.
Mr. Taylor first gained notoriety as a dance maker in 1957 with Seven New Dances; its study in non-movement famously earned it a blank newspaper review, and Graham subsequently dubbed him the “naughty boy” of dance. In 1962, with his first major success—the sunny Aureole—he set his trailblazing modern movement not to a contemporary score but to music composed 200 years earlier, and then went to the opposite extreme a year later with a view of purgatory in Scudorama. He inflamed the establishment in 1965 by lampooning some of America’s most treasured icons in From Sea To Shining Sea, and created more controversy in 1970 by putting incest center stage in Big Bertha. After retiring as a performer in 1974, he created an instant classic, the exuberant Esplanade (1975), which remains his signature work. In Cloven Kingdom (1976) he examined the primitive nature that lurks just below man’s veneer of sophistication and gentility. He looked at intimacy among men at war in 1983—long before “Don’t ask, don’t tell” became official policy—in Sunset; pictured Armageddon in Last Look (1985); and peered unflinchingly at religious hypocrisy and marital rape in Speaking In Tongues (1988). In Company B (1991) he used popular songs of the Andrews Sisters to juxtapose the high spirits of Americans during the 1940s with the sacrifices so many of them made during World War II. In The Word (1998), he railed against religious zealotry and blind conformity to authority. In the first decade of the new millennium he condemned American imperialism in Banquet of Vultures, poked fun at feminism in Dream Girls and stared death square in the face in the Walt Whitman-inspired Beloved Renegade. Brief Encounters (2009) and The Uncommitted (2011) each examined the inability of many men and women in contemporary society to form meaningful, lasting relationships.
Hailed for uncommon musicality and catholic taste, Mr. Taylor has set movement to music so memorably that for many people it is impossible to hear certain orchestral works and popular songs and not think of his dances. He has set works to an eclectic mix that includes Medieval masses, Renaissance dances, baroque concertos, classical symphonies, and scores by Debussy, Cage, Feldman, Ligeti and Pärt; Ragtime, Tango, Tin Pan Alley, Barbershop Quartets and The Mamas and The Papas; and telephone time announcements, loon calls, and laughter.
Mr. Taylor has influenced dozens of men and women who have gone on to choreograph—many on their own troupes—including Pina Bausch, Patrick Corbin, Laura Dean, Senta Driver, Thomas Evert, Danny Ezralow, Danny Grossman, Amy Marshall, David Parsons, Twyla Tharp, Takehiro Ueyama, Doug Wright and Lila York. Many others have gone on to become respected teachers at colleges and universities, including Carolyn Adams, Ruth Andrien, Mary Cochran, Connie Dinapoli, Orion Duckstein, David Grenke, Kate Johnson, Elizabeth Keen, Linda Kent, Renee Kimball, Sharon Kinney, Jane Kosminsky, Joao Mauricio, Susan McGuire, Sandra Stone, Kenneth Tosti, Dan Wagoner, Elizabeth Walton, Karla Wolfangle and Raegan Wood. And he has worked closely with such outstanding artists as Jasper Johns, Alex Katz, Ellsworth Kelly, William Ivey Long, Santo Loquasto, Gene Moore, Tharon Musser, Robert Rauschenberg, John Rawlings, Thomas Skelton and Jennifer Tipton.
As the subject of Matthew Diamond’s documentary, Dancemaker, and author of the autobiography Private Domain and Wall Street Journal essay Why I Make Dances, Mr. Taylor has shed light on the mysteries of the creative process as few artists have. Dancemaker, which received an Oscar nomination, was hailed by Time as “perhaps the best dance documentary ever.” His autobiography, Private Domain, originally published by Alfred A. Knopf and re-released by North Point Press and later by the University of Pittsburgh Press, was nominated by the National Book Critics Circle as the most distinguished biography of 1987. A documentary on the making of Three Dubious Memories, entitled Creative Domain, has been made, and a new collection of his essays, Facts and Fancies, was published in February 2013.
Mr. Taylor has received nearly every important honor given to artists in the United States. In 1992 he was a recipient of the Kennedy Center Honors and received an Emmy Award for Speaking in Tongues, produced by WNET/New York the previous year. He was awarded the National Medal of Arts by President Clinton in 1993. In 1995 he received the Algur H. Meadows Award for Excellence in the Arts and was named one of 50 prominent Americans honored in recognition of their outstanding achievement by the Library of Congress’s Office of Scholarly Programs. He is the recipient of three Guggenheim Fellowships and honorary Doctor of Fine Arts degrees from California Institute of the Arts, Connecticut College, Duke University, The Juilliard School, Skidmore College, the State University of New York at Purchase, Syracuse University and Adelphi University. Awards for lifetime achievement include a MacArthur Foundation Fellowship—often called the “genius award”—and the Samuel H. Scripps American Dance Festival Award. Other awards include the New York State Governor’s Arts Award and the New York City Mayor’s Award of Honor for Art and Culture. In 1989 Mr. Taylor was elected one of ten honorary members of the American Academy and Institute of Arts and Letters. Having been elected to knighthood by the French government as Chevalier de l’Ordre des Arts et des Lettres in 1969 and elevated to Officier in 1984 and Commandeur in 1990, Mr. Taylor was awarded France’s highest honor, the Légion d’Honneur, in 2000 for exceptional contributions to French culture.
Mr. Taylor’s dances are performed by the Paul Taylor Dance Company, the six-member Paul Taylor 2 Dance Company (begun in 1993), and companies throughout the world including the Royal Danish Ballet, Rambert Dance Company, American Ballet Theatre, San Francisco Ballet, Miami City Ballet, and Alvin Ailey American Dance Theater. He remains among the most sought-after choreographers working today, commissioned by presenting organizations the world over.
Continuing to embrace new challenges, in 2012 Mr. Taylor moved the Paul Taylor Dance Company’s performances to a new home at Lincoln Center, where it has attracted larger audiences than ever before. And in 2014 he established Paul Taylor’s American Modern Dance. Noted dance writer Robert Johnson applauded the creation of the new initiative, writing, “Any serious effort to preserve our fragile dance inheritance deserves a rousing ‘Hosanna!’ and ‘Amen!’
Sunday, May 30, 1954. President Eisenhower was in the midst of a counteroffensive against Sen. Joseph McCarthy and his charges that communists had infiltrated the highest levels of American government. The United States, Great Britain and France were discussing an accord that would divide Vietnam into two countries, North and South. Gil Hodges homered to lead Brooklyn to a 5-3 victory at the Polo Grounds. And at 8:40 in the evening at the Henry Street Settlement in Manhattan, a 23-year-old dancer and five colleagues gave the first public performance of his choreography, a dance called Jack and the Beanstalk. While the dance soon faded from memory, the choreographer became a giant—the youngest member of the pantheon that created American modern dance, and one of history’s most celebrated artists. Laura Shapiro once wrote in Newsweek, “Short course in modern dance: in the beginning there was Martha Graham, who changed the face of an art form and discovered a new world. Then there was Merce Cunningham, who stripped away the externals and showed us the heart of movement. And then there was Paul Taylor, who let the sun shine in.”
The Paul Taylor Dance Company and Taylor 2, created in 1993, have traveled the globe many times over, bringing Mr. Taylor’s ever-burgeoning repertoire to theaters and venues of every size and description in cultural capitals, on college campuses and in rural communities—and often to places modern dance had never been before. The Taylor Company has performed in more than 540 cities in 64 countries, representing the United States at arts festivals in more than 40 countries and touring extensively under the aegis of the U.S. Department of State. In 1997 the Company toured throughout India in celebration of that nation’s 50th Anniversary. Its 1999 engagement in Chile was named the Best International Dance Event of 1999 by the country’s Art Critics’ Circle. In the summer of 2001 the Company toured in the People’s Republic of China and performed in six cities, four of which had never seen American modern dance before. In the spring of 2003 the Company mounted an award-winning four-week, seven-city tour of the United Kingdom. The Company’s performances in China in November 2007 mark its fourth tour there. While continuing to garner international acclaim, the Paul Taylor Dance Company performs more than half of each touring season in cities throughout the United States. The Company’s season in 2005, marking its 50th Anniversary, was attended by more than 25,000 people. In celebration of the Anniversary and 50 years of creativity by one of the most extraordinary artists the world has ever known, the Taylor Foundation presented Mr. Taylor’s works in all 50 States between March 2004 and November 2005. That tour underscored the Taylor Company’s historic role as one of the early touring companies of American modern dance.
Beginning with its first television appearance for the Dance in America series in 1978, the Paul Taylor Dance Company has appeared on PBS in nine different programs, including the 1991 Emmy Award-winning Speaking in Tongues and The Wrecker’s Ball—with Company B, Funny Papers, and A Field of Grass—which was nominated for an Emmy Award in 1997. In 1999 the PBS American Masters series aired Dancemaker, the Academy Award nominated documentary about Mr. Taylor and the Taylor Company, which is available on home video.