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UMS Concert Program, November 7, 1979: International Presentations Of Music & Dance -- Martha Graham Dance Company

Day
7
Month
November
Year
1979
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University Musical Society
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Season: 101st
Concert: Twenty-fourth
Power Center For The Performing Arts Ann Arbor, Michigan

THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
Martha Graham Dance Company
MARTHA GRAHAM, Artistic Director
RON PROTAS, General Director and Associate Artistic Director LINDA HODES, Associate Artistic Director
Settings: Isamu Noguchi, Ming Cho Lee, Marisol
Lighting: Jean Rosenthal, Gilbert V. Hemsley, Jr., Nicholas Cernovitch Costumes: Martha Graham, Halston
The Dancers:
Christine Dakin Yuriko Kimura Peggy Lyman Susan McLain
Thea Nerissa Barnes Charles Brown David Brown Jacqulyn Buglisi Terese Capucilli Donlin Foreman Judith Garay
Elisa Monte Bert Terborgh Tim Wengerd George White, Jr.
Helen Jones Kevin Keenan Jean-Louis Morin Jeanne Ruddy Philip Salvatori Sharon Tyers Allen Von Hackendahl
Wednesday Evening, November 7, 1979, at 8:00
Power Center for the Performing Arts
Ann Arbor, Michigan
Tonight's performance is one of three by the Martha Graham Dance Company com?prising a dance residency with support from the National Endowment for the Arts and the Michigan Council for the Arts.
101st Season -Twenty-fourth Concert
Ninth Annual Choice Series
FRESCOES
Music by Samuel Barber Choreography by Martha Graham
Lighting by Nicholas Cernovitch Costumes by Halston
Premiere: December 9, 1978 First Fresco
Isis................................................ Christine Dakin
Osiris............................................... Charles Brown
Second Fresco, "Give me some music. . . ."
Cleopatra.............................................. Peggy Lyman
Antony................................................Tim Wengerd
Third Fresco
Isis................................................ Christine Dakin
Osiris ............................................... Charles Brown
Fourth Fresco, "Give me my robe, put on my crown. . . ."
Cleopatra .............................................. Peggy Lyman
Antony................................................Tim Wengerd
Isis................................................ Christine Dakin
Osiris ............................................... Charles Brown
Chorus: Thea Barnes, David Brown, Jacqulyn Buglisi, Terese Capucilli, Donlin Foreman, Judith Garay, Helen Jones, Kevin Keenan, Susan McLain, Jean-Louis Morin, Jeanne Ruddy, Philip Salvatori, Bert Terborgh, Sharon Tyers, Allen Von Hackendahl, George White, Jr.
Two Arias from Antony and Cleopatra by courtesy of G. Schirmer, Inc.
Frescoes was commissioned by Drs. Arthur M. Sackler, Mortimer D. Sackler, and Raymond R. Sackler to mark the dedication of the Sackler Wing at the Metropolitan Museum of Art. The Martha Graham Center of Contemporary Dance, Inc. wishes to express its deep appreciation to Halston for his contribution of the costumes for this production.
INTERMISSION
NIGHT JOURNEY
Music by William Schuman Choreography and costumes by
Set by Isamu Noguchi Martha Graham
Original Lighting by Jean Rosenthal
Premiere: May 3, 1947
"And loudly o'er the bed she walked where she In twofold wedlock, hapless, had brought forth Husband from a husband, children from a child. We could not know the moment of her death Which followed soon."
Oedipus was the son of King Laius of Thebes and Queen Jocasta. At his birth an oracle prophesied that he would murder his father and so he was abandoned on a desolate mountainside. He was found there and protected by a Corinthian shepherd, and grew to manhood as the adopted son of the King of Corinth. Once again an oracle predicted that Oedipus would slay his father and marry his mother. Thinking the King of Corinth his true father, he fled the city, and in his wanderings met, quarreled with, and finally killed a stranger who was King Laius of Thebes. Oedipus traveled on to Thebes, solving the riddle of the Sphinx and finally became King and married the Queen, Jocasta. He reigned nobly until a plague ravaged Thebes and the oracle declared that only banishment of the murderer of Laius would save the city. Finally the terrible truth of Oedipus' fate was brought to light by the seer Tiresias. Jocasta took her own life; Oedipus blinded himself and wandered the earth in misery.
In "Night Journey," Martha Graham's dramatization of this myth, it is not Oedipus but Jocasta who is the protagonist. The action turns upon that instant of Jocasta's death when she relives her destiny, sees with double insight the triumphal entry of Oedipus, their meeting, courtship, marriage, their years of intimacy which were darkly crossed by the blind seer, Tiresias, until at last the truth burst from him. The chorus of women who know the truth before the seer speaks it, vainly try to divert the prophecy from its cruel conclusion.
Jocasta .............................................. Yuriko Kimura
Tiresias, the Seer...................................... Bert Terborgh
Oedipus ............................................... Tim Wengerd
Leader oj the Chorus.................................... Sharon Tyers
Daughters oj the Night..................Thea Barnes, Jacqulyn Buglisi,
Terese Capucilli, Judith Garay, Helen Jones,
Jeanne Ruddy
Used by arrangement with Theodore Presser Company, agent for Merion Music, Inc., publisher and copyright owner.
Choreography copyright 1976 by Martha Graham
INTERMISSION
O THOU DESIRE WHO ART ABOUT TO SING
Music by Meyer Kupferman Choreography and Costumes by
Fantasy for Violin and Piano Martha Graham
Set by Marisol Original Lighting by
Associate designer Karen Schulz Nicholas Cernovitch
Premiere: May 17, 1977 Elisa Monte Tim Wengerd
This work has been dedicated by Martha Graham to Alexander Calder.
Originally commissioned by Halston.
The title is from a poem by St. John Perse.
By arrangement with General Music Publisher, New York. Choreography copyright O 1977 by Martha Graham
PAUSE
DIVERSION OF ANGELS
Music by Norman Dello Joio Choreography and Costumes by
Original Lighting by Jean Rosenthal Martha Graham
Premiere: August 13, 1948
Diversion of Angels is a lyric ballet about the loveliness of youth, the pleasure and playfulness, quick joy and quick sadness of being in love for the first time. It tells no story, but like a lyric poem, simply explores its theme.
Peggy Lyman Christine Dakin Terese Capucilli
George White, Jr. Charles Brown Bert Terborgh
Thea Barnes Jacqulyn Buglisi Jeanne Ruddy Allen Von Hackendahl
Used by arrangement with Carl Fischer, Inc. Choreography copyright 1976 by Martha Graham
The following remarks are excerpted from a statement made recently by Martha Graham to the Senate Appropriations Subcommittee in Washington, D.C.
I think the reason dance has held such an ageless magic for the world is that it has been the symbol of the performance of living. Many times I hear the phrase . . . the dance of life. It is close to me for a very simple and understandable reason. The instrument through which the dance speaks is also the instrument through which life is lived ... the human body. It is the instrument by which all the primaries of experience are made manifest. It holds in its memory all matters of life and death and love. Dancing appears glamorous, easy and delightful. But the path to the paradise of that achievement is not easier than any other. There is fatigue so great that the body cries, even in its sleep. There are times of complete frustration, there are daily small deaths. Then I need all the comfort that practice has stored in my memory, and a tenacity of faith that Abraham had wherein he "Staggered not at the promise of God through unbelief."
It takes about ten years to make a mature dancer. The training is two-fold. There is the study and practice of the craft in order to strengthen the muscular structure of the body. The body is shaped, disciplined, honored and, in time, trusted. Movement never lies. It is the barometer telling the state of the soul's weather to all who can read it. This might be called the law of the dancer's life . . . the law which governs its outer aspects.
Then there is the cultivation of the being. It is through this that the legends of the soul's journey are re-told, with all their gaity and all their tragedy, the bitterness and sweetness of living. It is at this point that the sweep of life catches up the mere personality of the performer and while the individual (the undivided one), becomes greater, the personal becomes less personal.
And there is grace. I mean the grace resulting from faith . . . faith in life, in love, in people, in the act of dancing. All this is necessary to any performance in life which is magnetic, powerful, rich in meaning, j
There is a fragment of poetry which has always had deep meaning for me. It referred to a long lost civilization:
"They had no poet and so they died. For the record of history lives in the Arts."
Even as I write this statement time has begun to make today yesterday . . . the past. Even the most brilliant scientific discoveries will in time change and perhaps grow obsolete, as new scientific manifestations emerge.
But Art is eternal; for it reveals the inner landscape which is the soul of man.
Martha Graham
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: 665-3717, 764-2538

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