Based in New York by way of Manchester, UK, Sarah Michelson has designed a work that responds directly to the Walkers ability to house and present both live performance and art objects within one institution, and the ways they are empowered when viewed and categorized by an audience. Daylight (for Minneapolis), commissioned by the Walker and developed in conversation with expansion architects Herzog & de Meuron, is the second of a three-part work (Part 1 was made for P.S. 122, Part 3 for Brooklyn Academy of Music, both in New York). Each segment lifts conceptual and architectural elements into the other, thereby foregrounding the theatrical sites themselves and forcing the dance to become a miniature study of the American touring circuit. Daylight (for Minneapolis) is driven by the romance, rigor, and futility of modern dance and the generosity of its cast and the house that presents it.
Celebrating architecture through choreography, Michelson premieres a dance/installation experience inspired by the design of the Walkers new building and the McGuire Theater. Called fearless, witty, and completely individual . . . one of the most riveting dancers in New York (Time Out New York), Michelson brings with her a cast of highly skilled dancers and collaborators. Co-commissioned by P.S.122 and the National Performance Network Creation Fund.
Chanhassen Dinner Theater recreates the 1955 movie, Oklahoma, starring Shirely Jones and Gordon MacRae
Oklahoma Opens Oct 2nd- Playing through Jan 23rd Performance 2 1/2 hours Play by Richard Rodgers and Oscar Hammerstein http://www.chanhassentheatres.com/
Plot- A couple of young cowboys win the hearts of their sweethearts in the Oklahoma territory at the turn of the century. Despite the interference of an evil ranch hand and a roaming peddler. Set in the times of the early 1900s', the musical is partially about the Indian Territory becoming the state of Oklahoma. Curly is a stubborn cowboy who had trouble admitting his feelings to Laurey, as does she. They both love each other, but have much difficulty telling each other because of their stubborn behaviors and reputation. The story is also set around Ado Annie trying to choose between Will, who has strong feelings for her, and the peddler, who thinks he's a ladies' man and doesn't really want to marry her. Judd, Laurey and Aunt Eller's hired hand, tries to come between Laurey and Curly, because he is alone and has feelings for Laurey. Aunt Eller is a peppy and friendly middle-aged woman who pretty much knows everyone, and everyone respects her. Written by V.
Sturtevent, Photograph Walker Art Center, Conceptual Art Installation, Flicker, all rights reserved
“The Quick and the Dead” Exhibit Ends September 27th
Why go see an art exhibit called “The Quick and the Dead?” And what does the phrase mean and where did it come from? Those are the kinds of questions most people ask.
Maybe the first question we should ask is art dead or alive? This exhibition, including the work of 53 artists from around the world, is clearly alive because its reach expands beyond the Walker’s main galleries to its public spaces, like the parking ramp, the Minneapolis Sculpture Garden, and the nearby Basilica of Saint Mary.
Here’s art that transforms, dissolves boundaries, and is at the border of non-existence.
The title too, has meaning, beyond words. The phrase comes from the Bible and relates to judgment and that only the divine may judge “the quick and the dead.”
“Who shall give account to him that is ready to judge the “quick and the dead.” The first English citation of the phrase is from the 1385 Wycliffe Bible. It also appears in the King James version.
The earliest meaning of the word 'quick' had nothing to do with speed, it meant 'endowed with life', or more simply, 'alive', as opposed to the current 'lively' meaning. To 'quicken' was to receive life and the first movement of a baby in the mother's womb was called the quickening. This use of 'quick' is extremely old dating from around the 4th century.
Buckminster Fuller, (1895- 1983) the designer, poly-math master innovator and engineer, was interested in the “quick realities” of modern physics. Fuller’s "quick realities" referred to Einstein’s theory of relativity and its idea of continuous motion against the "dead superstitions" of classical physics.
“Bucky” wrote “you never change things by trying to change the existing reality. To change something, you’ve got to build a new model that makes the existing model obsolete.”
