|
||
|
IDENTIFICATION AND BIO: Bill T. Jones is arguably the most prolific and accomplished postmodern choreographer of the twentieth century. He is also a black gay man who has chosen to speak openly about living with HIV and, occasionally, to make work on the subjects of mortality and grief. Jones began his dance training at the State University of New York at Binghamton, where he studied classical ballet and modern dance. After returning to Binghamton in 1973 from a sojourn to Amsterdam, he became co-founder with Lois Welk and Arnie Zane of American Dance Asylum. He also performed solo and in an ongoing duet with Arnie Zane. In 1983, he and Zane formed Bill T. Jones/Arnie Zane & Company, which evolved into the Bill T. Jones/Arnie Zane Dance Company. Since that time, Jones has created over fifty works for his own company while choreographing numerous commissioned works for companies around the world, including Alvin Ailey American Dance Theater, Boston Ballet, Lyon Opera Ballet, Berlin Opera Ballet, and others. In addition, he has choreographed frequently for opera. He is the recipient of a 1994 MacArthur Fellowship and the winner of two Bessies (New York Dance and Performance Awards), among numerous other prizes.
KEY CONTACT PERSON(S)/EXECUTOR OF ESTATE:
Alison Schwartz, Operations Director
HUMAN REPOSITORIES OF THE WORK
VIDEO DOCUMENTATION
In addition, the Jones/Zane company holds extensive video archives of the company’s works in performance. According to Alison Schwartz, operations director, all works created since 1982 have been documented and are shelved in the company's New York offices. These holdings comprise thousands of videotapes in multiple formats—VHS and 3/4 inch, primarily—as well as 8 mm film. These materials are in air-conditioned offices but are not otherwise temperature-controlled. Schwartz is interested in transferring this documentation to digital format. She also notes that documentation dating before 1986 lacks clear labels and may be in some disarray, and that some of the earlier materials may be housed at the home of Bill T. Jones. Also, much of the video documentation associated with the early part of Jones's shared career with Arnie Zane is housed at the UCR/California Museum of Photography in Riverside, California, as of the year 2000. This work may or may not stay in Riverside; the Walker Art Museum in Minneapolis, Minn., is also vying for it. The following documentaries are widely available: Bill T. Jones: Still/Here with Bill Moyers. I'll Make Me a World: A Century of African American Artists. Free To Dance—produced by the American Dance Festival, scheduled to air February 2001. The Dance Collection of the New York Public Library holds the following video documents: Alvin Ailey American Dance Theater: Three by three (1985)—compilation video including Bill T. Jones’ Fever Swamp performed by members of Alvin Ailey American Dance Theater; recorded 3 September for the Great Performances/Dance in America series; produced by Ellis B. Haizlip & Catherine Tatge; one 3/4 in. videocassette (57 min); call number MGZIC 9-906. The Bessies: the Fifth Annual New York Dance & Performance Awards (1988)—compilation video of annual awards benefit presented by Dance Theater Workshop; videotaped in performance at Brooklyn Academy of Music, New York, 15 September; includes excerpts of Bill T. Jones' Untitled; three 3/4 in. videocassettes (143 min.); call number MGZIC 9-6042. Bill T. Jones (1981)—videorecording presented by Dance Theater Workshop ; choreography and performance by Bill T. Jones; videotaped at the American Theatre Laboratory, New York; part of Dance Theater Workshop's The Winter Events; VHS (85 min.); call number MGZIA 4-90. Bill T. Jones (1981)—compilation video including solo performance by Bill T. Jones; a Kitchen production; VHS (21 min.); call number MGZIA 4-400. Bill T. Jones/Arnie Zane and Company (1991)—compilation video producation for BBC Television in association withThirteen/WNET and Amaya Distribution; produced and directed by Mischa Scorer; choreography by Bill T. Jones; performed by Bill T. Jones/Arnie Zane and Company; includes documentary of Bill T. Jones/Arnie Zane Dance; VHS (60 min.); call number MGZIA 4-1840. Center Stage: Physicality and Theatricality (1986)—compilation video including an excerpt of Secret Pastures, choreographed by Bill T. Jones; produced by ARC Videodance as part of the television series Eye on dance recorded on 20 March and telecast on 2 May; one 3/4 in. cassette (29 min); call number MGZIC 9-2981. Choreographers Showcase (1977)—compilation video with choreography and performance by Bill T. Jones; videotaped at American Theater Laboratory, New York, in June; presented by Dance Theater Workshop; one 3/4 in. cassette (60 min.); call number MGZIC 9-3419. CodanceCo. (1984)—compilation video taped at the Riverside Dance Festival, New York, 6 May; performed by dancers from Codance Co.; includes excerpt of Bill T. Jones' Corporate Whimsy; VHS (78 min.); call number MGZIA 4-392. Dancers and the Dance (1984)—compilation video of excerpts from various German and American dance works, presented at the International Festival for Modern Dance titled "New York and Back," held in Cologne are shown to illustrate the similarities and differences between the German and American modern dance traditions; includes Bill T. Jones interview; VHS (30 min.); call number MGZIA 4-395. Dance of the Century: Contemporary Dance: the Explosion (1992)—compilation video including excerpts choreographed by Bill T. Jones; co-produced by La Sept, Pathe Television, Duran, Ostankino, Sovtelexport, in association with RAI; fifth of a five-part series on European contemporary dance; one 3/4 in. videocassette (54 min.); call number MGZIC 9-4500 cassette 5. Danspace Silver Series. Volume One (1998)—compilation video presented by the Danspace Project; videotaped in performance at St. Mark's Church in-the-Bowery, New York, on 19 December; first in a series of performances celebrating the Danspace Project's 25th anniversary; includes excerpts from Bill T. Jones’ Etude; two VHS videocassettes (131 min.); call number MGZIA 4-3344. DIFFA presents a demand performance (1993)—compilation video including choreographic excerpts of War Between the States by Bill T. Jones; videotaped in performance at the New York State Theater on 18 October; benefit presented by the Design Industries Foundation for AIDS in collaboration with Broadway Cares/Equity Fights Aids; four 3/4 in. videocassettes (163 min.); call number MGZIC 9-4078. Dress Up!: P.S. 122's 10th Anniversary Benefit (1990)—presented by Performance Space 122 in performance at Performance Space 122, New York, on 1 February, includes Untitled excerpt with text by Bill T. Jones; three 3/4 in. videocassettes (182 min.); call number MGZIC 9-4636. Fire and Rotary Action: Excerpts and Light and Sticks (1986)—videodance dancers/choreographers Arnie Zane and Bill T. Jones; telecast on the Alive from Off-Center Series (program #203) produced by KTCA-TV/Minneapolis-St. Paul one 3/4 in. videocassette (28 min.); call number MGZIC 9-3273. Last Supper at Uncle Tom's Cabin/The Promised Land (1990)—four 3/4 in. cassettes (130 min); call number MGZIC 9-2626. Retracing Steps: American dance Since Postmodernism (1988)—compilation video including choreographic excerpts by Bill T. Jones; produced by Michael Blackwood Productions and Westdeutscher Rundfunk; two 3/4 in. cassettes (88 min.); call number MGZIC 9-1870. Secret Pastures (1985)—videotape from the world premiere in performance at the Next Wave Festival, Brooklyn Academy of Music, 15 November; choreography by Bill T. Jones & Arnie Zane; two 3/4 in. videocassettes (94 min.); call number MGZIC 9-951. Solos, Duets, & Pizza (1994)—compilation video with choreographic excerpts by Bill T. Jones; produced by WGBH/Boston's New Television Workshop; one 3/4 in. videocassette (39 min.); call number MGZIC 9-2484. Still/Here (1994)—evening-length dance work drawn from the testimonies of participants in the Survival Workshops; conceived, choreographed and directed by Bill T. Jones; presented by the 1994 Next Wave Festival, Brooklyn Academy of Music, on 2 December; danced by the Bill T. Jones/Arnie Zane Dance Company; two 3/4 in. videocassettes (111 min.); call number MGZIC 9-4991. Secret Pastures (1985)—videotape of world premiere performance at the Next Wave Festival Brooklyn Academy of Music Opera House, 15 November; choreographed by Bill T. Jones and Arnie Zane; two 3/4 in. videocassettes (94 min.); call number MGZIC 9-951. The Studies Project: Bill T. Jones and Steve Paxton (1983)—compilation video including choreographic excerpts by Bill T. Jones; videotaped by Cathy Weis at the Danspace, St. Mark's Church in- the-Bowery, New York, on 4 December; presented by Movement Research, Inc. in association with the Danspace Project; BETA (117 min.); call number MGZIB 3-195erpts Terry Creach and Stephen Koester (1989)—videorecording presented by Dance Theater Workshop; videotaped in performance at Dance Theater Workshop's Bessie Schonberg Theater, New York, as part of the Winter Events, on 27,28 January; including premiere of Bill T. Jones', It Takes Two; two 3/4 in. videocassettes (72 min.); call number MGZIC 9-5858. Untitled and Arms and Relatives (1989)—compilation video featuring the choreography of Bill T. Jones; telecast on the Alive from Off-Center series (program #503), produced by KTCA-TV/Minneapolis-St. Paul. Producer: John Ligon; one 3/4 in. cassette (28 min.); call number MGZIC 9-3280. Werkcentrum Dans (1982)—compilation video taped at Dance Theater Workshop, New York, 19 & 21 November; including choreographic excerpts of Ah! Break it! by Bill T. Jones; 2 VHS videocassettes (145 min.); call number MGZIA 4-206. Wired: a Benefit for Performance Space 122 (1989)—compilation video including choreographic excerpts by Bill T. Jones; videotaped in performance at Performance Space 122, New York, on 4 February; two 3/4 in. videocassettes (99 min.); call number MGZIC 9-4573.
PHOTOGRAPHIC DOCUMENTATION
MOVEMENT NOTATION
PRODUCTION MATERIALS
ORAL HISTORY:
Jones, Bill T. interviewee. 1993. Interview with Bill T. Jones [sound recording]—interviewed by Leslie Farlow in Mr. Jones's car, 14 July; two sound cassettes (ca. 100 min.) + 1 transcript (69 leaves); call number MGZMT 3-1891 (transcript); call number MGZTC 3-1891 (sound cassette); for transcript, see MGZMT 3-1891; master cassette in: MGZTCO 3-1891; archival transcript in: MGZMTO 3-1891. Jones's autobiography serves as a kind of oral history: Jones, Bill T., with Peggy Gillespie. 1995. Last Night on Earth. New York: Pantheon.
PERSONAL PAPERS
In addition, the Dance Collection of the New York Public Library maintains a clippings file for "Jones, Bill T.," call number MGZR.
IMMEDIATE NEEDS
OTHER RELEVANT INFORMATION:
Per Terry Creach: It Takes Two (1990?) was made by Bill T. Jones for Terry Creach and Steve Koester the year after Arnie Zane's death. According to Creach, the piece was about losing Arnie Zane—Terry was Bill and Steve was Arnie. "Steve played this figure who would run around like crazy and take his clothes off. I would have to tackle him and wrestle him to the ground and make him put his shirt on. It was directly out of Bill's experience." The musical score included Betty Carter's "Everytime We Say Goodbye," and a song by Ray Charles featuring lyrics about losing someone. According to Creach, the title was changed when the piece was performed by the Jones/Zane company.
LIST OR OVERVIEW OF WORKS
Pas de Deux for Two (1973)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed by 137 Washington Street in Binghamton, New York; music by Benny Goodman. A Dance with Durga Devi (1974)—choreographed by Bill T. Jones for the American Dance Asylum; first performed in Binghamton, New York; music consists of Tibetan Temple chants and Bessie Smith. Negroes for Sale (1974)—choreographed by Bill T. Jones for the Collective for Living Cinema; first performed in New York City; audio collage by Jones and décor by Arnie Zane. Entrances (1974)—choreographed by Bill T. Jones for the American Dance Asylum; first performed in Binghamton, New York. Track Dance (1974)—choreographed by Bill T. Jones for the State University of New York; first performed in Binghamton, New York. Could Be Dance (1975)—choreographed by Bill T. Jones for the American Dance Asylum; first performed in Binghamton, New York. Dancing and Video in Binghamton (1975)—choreographed by Bill T. Jones in collaboration with American Dance Asylum, Peer Bode, and Meryl Blackman for the Experimental Television Center; first performed in Binghamton, New York. Across the Street There is a Highway (1975)—choreographed by Bill T. Jones for The Farm; first performed in San Francisco, California. Women in Drought (1975)—choreographed by Bill T. Jones for the American Dance Asylum; first performed by Binghamton, New York. Across the Street (1975)—choreographed by Bill T. Jones in collaboration with Arnie Zane for the American Dance Asylum; first performed in Binghamton, New York; spoken text by Jones and film by Zane. Impersonations (1975)—choreographed by Bill T. Jones for the American Dance Asylum; first performed in Binghamton, New York. Everybody Works/All Beasts Count (1975)—choreographed by Bill T. Jones for the American Dance Asylum; first ensemble performance in Binghamton, New York and first solo performance at the Clark Center, New York City; music by Jesse Fuller, sung a capella by Zane and Lynda Berry. For You (1977)—choreographed by Bill T. Jones for the Daniel Nagrin Dance Theater; first performed in New York City. Stomps (1977)—choreographed by Bill T. Jones for the Daniel Nagrin Dance Theater; first performed in New York City. Walk (1977)—choreographed by Bill T. Jones for the Daniel Nagrin Dance Theater; first performed in New York City. A Man (1977)—choreographed by Bill T. Jones for the Daniel Nagrin Dance Theater; first performed in New York City. Asymmetry: Every Which Way (1977)—choreographed by Bill T. Jones for the Roberson Art Center and Sears Harkness Theater; first performed in Binghamton, New York; music by Lou Grassi and visuals by Jones and Peer Bode. Da Sweet Streak Ta Love Land (1977)—choreographed by Bill T. Jones; first performance at the Clark Center, New York City; music by Otis Redding and costumes by Jones. Whosedebabedoll? Baby Doll (1978)—choreographed by Bill T. Jones in collaboration with Arnie Zane for the American Dance Asylum; first performed in Binghamton, New York; spoken text by Jones and Zane. Floating the Tongue (1978)—choreographed by Bill T. Jones for the Kent School for Boys; first performed in Kent, Connecticut and later performed at The Kitchen in New York City (1979). Naming Things is Only the Intention to Make Things (1978)—choreographed by Bill T. Jones; first performed at The Kitchen in New York City; vocal music by Jeanne Lee and text/costumes by Jones. Progresso (1978)—choreographed by Bill T. Jones; first performed at The Kitchen in New York City; set design by Jones. By the Water (1978)—choreographed by Bill T. Jones for the American Dance Asylum; first performed in Binghamton, New York; text and movement collaboration with Sheryl Sutton; set by Charles Kiesling in collaboration with Sheryl Sutton and Jones. Monkey Run Road (1979)—choreographed by Bill T. Jones in collaboration with Arnie Zane for the American Dance Asylum; first performed in Binghamton, New York; music by Helen Thorington; text by Jones; set and costumes by Jones and Zane. Echo (1979)—choreographed by Bill T. Jones; first performed at The Kitchen, New York City; music by Helen Thorington. Addition (1979)—choreographed by Bill T. Jones; first performed at Washington Square Church, New York City; lighting by Carol Mullins. Circle in Distance (1979)—choreographed by Bill T. Jones with text and movement collaborator, Sheryl Sutton; first performed at Washington Square Church in Binghamton, New York; set by Jones and Sutton; lighting by Carol Mullins. Dance in the Trees (1980)—choreographed by Bill T. Jones; first performed by Hartman Land Reserve, Cedar Falls, Iowa; music by Jeff Cohan and Pete Simonson; costumes by Renata Sack and Jones. Open Spaces: A Dance in June (1980)—choreographed by Bill T. Jones; first performed in Waterloo, Iowa; music by Dan Hummel, Mark Gaurmond, Thomas Berry; costumes by Renata Sack and Jones. Untitled Duet (1980)—choreographed by Bill T. Jones in collaboration with Sherry Satenstrom; first performed at the Recreation Center in Waterloo, Iowa; music by Dan Hummel, Marica Miget, and Dartanyan Brown. Balancing the World (1980)—choreographed by Bill T. Jones; first performed at the University of Northern Iowa in Cedar Falls, Iowa and at the Amerika House in Berlin; lighting by William Yehle. Sweeps (1980)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed in Zurich, Switzerland; video by Meryl Blackman; set (painting) by Rosina Kuhn. Blauvelt Mountain (1980)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed at the Dance Theater Workshop in New York City; music by Helen Thorington; set by Bill Katz; lighting by William Yehle. Sisyphus (1980)—choreographed by Bill T. Jones; first performed by the Terrace Theater at the Kennedy Center in Washington, D.C.; music by Helen Thorington; set by Jones; spoken text by Jones. Social Intercourse (1980)—choreographed by Bill T. Jones and assisted by Arnie Zane; first performed by the Stewart Theater at the American Dance Festival at Duke University in Raleigh, North Carolina and at The Space in New York City; text and lyrics by Jones; music arrangement by Joe Hannon. Break (1980)—choreographed by Bill T. Jones; first performed at the Nicollete Island Amphitheater in Minneapolis, Minnesota; music by George Lewis. Valley Cottage (1980)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed by the Dance Theater Workshop in New York City; music by Helen Thorington; text by Jones and Zane; set by Bill Katz; slides by Zane; lighting by William Yehle. 10 (1980)—First Part: Prologue Performance for Bicycle, Voice, Slide, and Dress; choreographed by Bill T. Jones; spoken text by Jones; first performed at the Dance Theater Workshop in New York City. 10 (1980)—Second Part; choreographed by Bill T. Jones; set design by Jones; lighting by William Yehle; first performed at the Dance Theater Workshop in New York City. Ah! Break it! (1980)—choreographed by Bill T. Jones; first performed in Werkcetrum Dans Rotterdam, the Netherlands; music by Jalalu Calvert Nelson with additional recorded chants by Jones. Three Dances (1982)—choreographed by Bill T. Jones; first performed at Harvard University in Cambridge, Massachusetts; music by Mozart and Peter Gordons; spoken text by Jones. Rotary Action (1982)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed at New Dance, New York City and the Vienna Festival in Vienna, Austria; music by Peter Gordon; lighting by William Yehle. Dance for the Convergence of Three Rivers (1982)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performance at the Three Rivers Arts Festival in Pittsburgh, Pennsylvania; music by George Lewis; collaboration with Keith Haring (painting during performance). Shared Distance (1982)—choreographed by Bill T. Jones as a duet with Julie West; first performed at The Kitchen in New York City. Duet X 2 (1982)—choreographed by Bill T. Jones as a duet with Robe Besserer or Brian Arsenault; first performed at The Kitchen in New York City; air sung Bach music by Brian Arsenault. Intuitive Momentum (1983)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed at the Brooklyn Academy of Music, Brooklyn, New York; music by Max Roach and Connie Crothers; set by Robert Longo; costumes by Ronald Kolodzie; lighting by Craig Miller. Fever Swamp (1983)—choreographed by Bill T. Jones on commission by the Alvin Ailey American Dance Theater; first performed at the Santa Monica Civic Auditorium, Santa Monica, CA; music by Peter Gordon; set/costumes by Bill Katz. Naming Things (1983)—choreographed by Bill T. Jones in collaboration with Phillip Mallory Jones and David Hammons for Rhonda Moore and Poonie Dodson; first performed at the Just Above Midtown Gallery, New York City; traditional funeral dirge (music) by Miles Davis. 21 (1983)—choreographed by Bill T. Jones as a solo; first performed at the Recreation Center in Waterloo, Iowa; re-created for video with Tom Bowles in 1984. Corporate Whimsy (1983)—choreographed by Bill T. Jones; first performed at the Tisch School of the Arts (NYU), New York; music by Bryon Rulon. Casino (1983)—choreographed by Bill T. Jones; first performed at Ohio University in Athens, Ohio; music by Peter Gordon; set by Robert Longo. Dances with Brahms (1984)—choreographed by Bill T. Jones; first performed at the Paula Cooper Gallery, New York City and in Leuven, Belgium; music by Johannes Brahms; costume by Jimmy Myers. 1,2,3 (1985)—choreographed by Bill T. Jones; first performed at the Joyce Theater, New York City; music by Carl Stone; lighting by Robert Wierzel; set/costumes by Jones. Holzer Duet...Truisms (1985)—choreographed by Bill T. Jones as a duet with Lawrence Goldhuber; first performed at the Joyce Theater, New York City; text by Jenny Holzer; audio collage by Jones; lighting by Robert Wierzel. M.A.K.E. (1985)—choreographed by Bill T. Jones; first performed at the Joyce Theater, New York City; audiotaped, spoken text by Jones and Arnie Zane; set by Jones; lighting by Robert Wierzel. Pastiche (1985)—choreographed by Bill T. Jones; first performed at the Joyce Theater, New York City; music by James Brown and Eric Dolphy; text by William Shakespeare, Edith Sitwell, and Jones; visuals of lantern slides by Arnie Zane; costume (crown) by Marcel Fieve; lighting by Robert Wierzel. Freedom of Information (1985)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed at the Theatre de la Ville in Paris, France; music by David Cunningham; spoken text by Jones; set/visuals by Gretchen Bender; lighting by William DeMull. Secret Pastures (1985)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed at the Brooklyn Academy of Music in Brooklyn, New York; music by Peter Gordon; set by Keith Haring; costumes by Willi Smith; hair/make-up/face painting by Marcel Fieve; lighting by Stan Pressner. Virgil Thompson Etudes (1986)—choreographed by Bill T. Jones on commission for Virgil Thompson’s 90th birthday; first performed by Chanterelle in New York City; music by Thompson; costume by Louise Nevelson and William Katz; lighting by Craig Miller. Animal Trilogy (1986)—choreographed by Bill T. Jones in collaboration with Arnie Zane and commissioned in part by the Brooklyn Academy of Music, New York; first performed at the Biennale Internationalde de la Danse in Lyon, France; music by Conlon Nancarrow; sets by Cletus Johnson; costumes by Bill Katz; lighting by Robert Wierzel. Where the Queen Stands Guard (1987)—choreographed by Bill T. Jones in collaboration with Arnie Zane on commission by the St. Luke’s Chamber Ensemble; first performed at the Triplex Theater at the Community College of New York City (Manhattan); music by Vittorio Rieti (performed by the St. Luke’s Chamber Ensemble); set/costumes by Frank L. Viner; lighting by Robert Wierzel. Red Room (1987)—choreographed by Bill T. Jones in collaboration with Arnie Zane; first performed at the Ohio Theatre in Cleveland, Ohio; music by Charles R. Amirkhanian and Gene Tyranny; lighting by Robert Wierzel. Chatter (1987)—choreographed by Bill T. Jones; first performed at the American Dance Festival in Durham, North Carolina; music by Paul Lansky; lighting by Robert Wierzel. Soon (1987)—choreographed by Bill T. Jones; first performed at the Celebrate Brooklyn Festival in Prospect Park, Brooklyn, New York; music by Kurt Weill and Bessie Smith. Don't Lose Your Eye (1989)—choreographed by Bill T. Jones; first performed by and commissioned for the Path Dance Company of Baltimore, Maryland; music by Sonny Boy Williams and Paul Lansky. Forsythia (1989)—choreographed by Bill T. Jones as a duet with Arthur Aviles; first performed at the Joyce Theater in New York City; music by Dufay; recorded dreamtext by Arnie Zane; lighting by Robert Wierzel. La Grande Fete (1989)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by Paul Lansky; costumes/masks by Dain Marcus; lighting by Robert Wierzel. It Takes Two (1989)—choreographed by Bill T. Jones on commission by Terry Creach and Stephen Koester; first performed at the Dance Theater Workshop in New York City; music by Ray Charles and Betty Carter; lighting by Raymond Dooley. Absence (1989)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by Kryzysztof Penderecki ad Hector Berlioz; costumes by Marina Harris; lighting/décor by Robert Wierzel. D-Man in the Waters (1989)—choreographed by Bill T. Jones on commission by St. Luke’s Chamber Orchestra, New York City; music by Felix Mendelsohn, costumes by Damian Acquavella and company; lighting by Robert Wierzel. Last Supper at Uncle Tom's Cabin/The Promised Land (1990)—choreographed by Bill T. Jones; first performed at the Next Wave Festival at the Brooklyn Academy of Music in Brooklyn, New York; music by Julius Hemphill; text by R. Justice Allen, Ann T. Greene, Jones, Estella Jones, Heidi Latsky, and Soujourner Truth; set/costumes by Huck Snyder; lighting by Robert Wierzel. History of Collage Revisited (1990)—choreographed by Bill T. Jones; first performed by the Berkshire Ballet in Albany, New York; music by Charles Amirkhanian and "Blue" Gene Tyranny; lighting by Robert Wierzel. Havoc in Heaven (1991)—choreographed by Bill T. Jones; first performed by the Berkshire Ballet in Albany, New York; music by John Bergamo, costumes by Liz Prince; lighting by Robert Wierzel. Broken Wedding (1992)—choreographed by Bill T. Jones on commission for the Boston Ballet; first performed at the Wang Center, Boston Massachussets; music by Klezmer Conservatory Band; costumes/set by Liz Prince; lighting by Robert Wierzel. Die Offnug (1992)—choreographed by Bill T. Jones on commission for the Berlin Opera Ballet; first performed at the Deutsche Opera Berlin in Berlin, Germany; music by John Oswald; costumes by Liz Prince; lighting by Robert Wierzel. Love Defined (1992)—choreographed by Bill T. Jones on commission for the Lyon Opera Ballet; first performed at the Maison de la Dance in Lyon, France; music by Daniel Johnston; set by Donald Baechler; costumes by Bill Katz; lighting by Robert Wierzel. Our Respected Dead (1992)—choreographed by Bill T. Jones; first performance at the Joyce Theater in New York City; music by Daniel Johnston; set by Donald Baechler; costumes by Bill Katz; lighting by Robert Wierzel. Fete (1992)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by Paul Lansky; costumes by Liz Prince; lighting by Robert Wierzel. Last Night on Earth (1992)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by Kurt Weill, Bessie Smith, traditional song by Jones; costume by Rifat Ozbeck; lighting by Robert Wierzel. After Black Room (1993)—choreographed by Arnie Zane and re-staged by Bill T. Jones; first performed at the Cannes Festivale Internationale de la Danse in Cannes, France; set by Robert Wierzel after Zane; lighting by Wierzel. Achilles Loved Patroclus (1993)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by John Oswald; audiotape narrative by Derek Jacobi reading The Iliad; costumes by Liz Prince; set by Robert Wierzel; lighting design by Wierzel. War Between the States (1993)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City, music by Charles Ives; costumes by Issace Mizrahi; lighting by Robert Wierzel. There Were So Many... (1993)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by John Cage; costumes by Linda Pratt and jean Claude Mastroianni; lighting by Robert Wierzel. And the Maiden (1993)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by Bessie Jones and Group from "Georgia Sea Island Songs;" costumes by Liz Prince; set by Jones; lighting by Robert Wierzel. Just You (1993)—choreographed by Bill T. Jones; first performed at the Joyce Theater in New York City; music by Frank Loesser, Harry Klages-Greer, Cole Porter, and Hoffman-Manning; lighting by Robert Wierzel. Still/Here (1993)—choreographed by Bill T. Jones; first performed at the Biennale Internationale de la Danse in Lyon, France; music by Kenneth Fragelle (traditionals by Odetta, the Lark String Quartet and Bill Finizio) and Vernon Reid; video art by Gretchen Bender; spoken text by participants of the Survival Workshops and Lawrence Goldhuber; costumes by Liz Prince; lighting by Robert Wierzel. New Duet (1995)—choreographed by Bill T. Jones; first performed Lyon Biennale de la Danse, Lyon, France; music by John Oswald/Laurel McDonald; lighting by Gregory Bain. Degga (1995)—choreographed by Bill T. Jones; first performed Alice Tully Hall, Lincoln Center, New York; collaboration with Toni Morrison and Max Roach; lighting by Robert Wierzel. 24 Images per Second (1995)—choreographed by Bill T. Jones; first performed Lyon Opera Ballet, Lyon, France. Ursonate (1996)—choreographed by Bill T. Jones; first performed Joyce Theater, New York; sound poem by Kurt Schwitters; costumes by Byron Lars; lighting by Robert Wierzel. Bill and Laurie: About Five Rounds (1996)—collaboration by Bill T. Jones with Laurie Anderson; first performed Joyce Theater, New York; video by Chris Kondek. Ballad (1996)—choreographed by Bill T. Jones; first performed Joyce Theater, New York; poems written and read by Dylan Thomas; costumes by Liz Prince; lighting by Robert Wierzel. Blue Phrase (1996)—choreographed by Bill T. Jones; first performed Joyce Theater, New York; music by Eric Dolphy; costumes by Olga Maslova; lighting by Robert Wierzel. Love Re-Defined (1996)—choreographed by Bill T. Jones; first performed Joyce Theater, New York; music by Daniel Johnston; decor by Donald Baechler; costumes by Liz Prince; lighting by Robert Wierzel. Sur La Place (1996)—choreographed by Bill T. Jones; first performed Cour d'Honneur, Festival D'Avignon, Avignon, France; music by Jacques Brel; costumes by Fernando Sanchez; lighting by Robert Wierzel. Lisbon (1997)—choreographed by Bill T. Jones; first performed Emerson Majestic Theater, Boston; music collage by Gregory Bain; costumes by Bill T. Jones/Arnie Zane Dance Company; lighting by Robert Wierzel. We Set Out Early...Visibility Was Poor (1997)—choreographed by Bill T. Jones; first performed Kennedy Center, Eisenhower Theater, Washington, D.C.; music by Igor Stravinsky, John Cage, Peteris Vasks; costumes by Liz Prince; decor by Bjorn G. Amelan; lighting by Robert Wierzel. Out Some Place (1998)—choreographed by Bill T. Jones; first performed Kennedy Center, Eisenhower Theater, Washington, D.C.; music by Fred Hersch; costumes by Liz Prince; lighting by Robert Wierzel. The Breathing Show (1999)—choreographed by Bill T. Jones; first performed Hancher Auditorium, Iowa City, Iowa. You Walk? (2000)—choreographed by Bill T. Jones; first performed Hancher Auditorium, Iowa City, Iowa. Verbum (2002)—choreographed by Bill T. Jones, first performed Hancher Auditorium, Iowa City, Iowa; music by Ludwig Van Beethoven; costumes by Liz Prince, sets by Bjorn Amelan, lighting by Robert Wierzel. WorldWithout/IN (2002)—choreographed by Bill T. Jones; first performed Hancher Auditorium, Iowa City, Iowa; music by Gyorgy Kurtag; costumes by Liz Prince; sets by Bjorn Amelan; lighting by Robert Wierzel. Black Suzanne (2002)—choreographed by Bill T. Jones; first performed Hancher Auditorium, Iowa City, Iowa; music by Dmitri Shostakovich; costumes by Liz Prince, sets by Bjorn Amelan; lighting by Robert Wierzel.
BIBLIOGRAPHY:
|
||
|
index of choreographers »
TOP |
