Yvonne Rainer

"To read Rainer's screenplays is to rediscover, even reinvent, the films all over again, but more importantly to realize that images and mise-en-scène are as key to how Rainer's films work as is language." —The Independent "The scripts record the unique structure of [Rainer's] films, the stresses, strains, and crackling of voices layering over and into one another. Their publication is an important moment for feminist film." —Cineaste "Rainer's films are not highly accessible but are important to the critical imagination as an example of the sustained exploration of political and feminist theory." —Choice "Rainer's important work in the area of avant-garde filmmaking in the seventies and eighties is amply recorded in this book . . . " —Cantrills Filmnotes' The scripts of Rainer's five films, presented here along with essays, an interview, and bibliography, demonstrate the evolution of her political consciousness as well as her creative engagement with the contemporary film and cultural scene. These texts challenge the illusionist and ideological presumptions of mainstream culture and cinema.

A legendary choreographer’s personal and practical guide to the art of dance-making Yvonne Rainer was a founding member of Judson Dance Theater, a 1960s New York artists’ collective that championed ordinary, spare movements and spontaneity. Rainer’s decades of creativity—in dance and in filmmaking—have inspired generations of avant-garde, political, and feminist choreographers. Her many works include the iconic dance Trio A and the film Hand Movie. In this book, Rainer dancer and choreographer Emmanuèle Phuon helps Rainer gather teaching notes from her dance classes and workshops, passages from her creative journals, and her newer thoughts on movement and art, opening a window on to the life’s work of a transformative artist. With fifty prompts for improvisational movement (“39. Travel a long distance as fast as you can while making regular changes in your means of locomotion”), sly illustrations by Pascal Lemaître, and an illuminating interview with Phuon, this workbook makes Rainer’s friendly, humorous, and down&-to-earth creative practice available to everyone. Because, as Rainer says, if you can move, you are a dancer.

From demands for racial justice to the discussions around monuments and memorials, On the Town provides a vivid account of current debates through the lens of performance This book builds on a series of acclaimed Performa drawing content and inspiration from the organization’s international biennials and programs. It features projects by more than 100 of the leading artists, choreographers, architects, theater and film directors working today. On the Town documents the 2017 and 2019 editions of the Performa biennial along with five years of public programs, films and exhibitions touring the globe. Illustrated with performance photos, essays and interviews with the artists, it captures a critical juncture in the evolution of performance.

Choreographer and filmmaker Yvonne Rainer has long investigated the ways in which movement can be a political act in and of itself--on the stage, on the screen, or at the lectern. In Revisions, Rainer pushes her interest in embodied activism to a new arena- what she calls the "dance rant." This volume includes the final iteration of Rainer's latest dance rant, entitled A Truncated History of the Universe for Dummies. This performance piece evolved in live presentations in Dublin, Stockholm, and New York before being expanded and adapted in written form here. In this now-completed work, Rainer mobilizes her rage and bafflement at contemporary political events through the guise of Apollo, Leader of the Muses.

Memoir by the avant-garde dancer, choreographer, and filmmaker recounting her childhood years, sexual misadventures, and artistic explorations.If you're interested in Plato, you're reading the wrong book. If you're interested in difficult childhoods, sexual misadventures, aesthetics, cultural history, and the reasons that a club sandwich and other meals-including breakfast-have remained in the memory of the present writer, keep reading.-from Feelings Are FactsIn this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts (the title comes from a dictum by Rainer's one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film-frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America. Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962, hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and antiwar causes in the 1970s and 1980s. Rainer writes about how she constructed her dances-including The Mind Is a Muscle and its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan-and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life.

Studienarbeit aus dem Jahr 2011 im Fachbereich Philosophie - Praktische (Ethik, sthetik, Kultur, Natur, Recht, ...), Note: 1.3, Ludwig-Maximilians-Universit t M nchen, Veranstaltung: Grundkurs Politische Philosophie, Sprache: Deutsch, Abstract: Um die Leitfrage beantworten zu k nnen, wird in Teil 2.1 zun chst genauer untersucht, was Aristoteles berhaupt unter "Gl ckseligkeit" versteht. In Teil 2.2 soll dann die philosophische Anthropologie betrachtet werden, um die Beziehung des Individuums zu seinen Mitmenschen, der Gemeinschaft, zu entschl sseln. Au erdem wird festgestellt, ob sich die einfache Gemeinschaft von einer staatlichen Gemeinschaft unterscheidet und inwieweit der Mensch, der in ihr lebt, gl cklich werden kann. In Abschnitt 2.3 wird die Verschiedenheit der Lebensformen des "Betrachtens" und des "politischen Lebens" aufgezeigt und welche von beiden die beste Form f r den Menschen ist, um Gl ckseligkeit f r sein Leben zu erlangen. Im letzten Teil des Hauptteils wird das Ph nomen der Freundschaft untersucht; ob Freundschaft wichtig f r den Menschen ist, um gl ckselig zu werden, und ihre Bedeutung f r das zwischenmenschlichen Gef ge - da die Freundschaft in ihrem Wesen das private und das politische Leben umfasst. Ziel der Arbeit ist es, anhand der Ermittlungen die Leitfrage zu beantworten. Mit Hilfe der Darstellungen von Aristoteles' Lehren soll herausgefunden werden, inwieweit der Mensch, der hier als Mittelding zwischen Tier und Gott gesehen wird, die Gesellschaft - genauer gesagt die politische Gemeinschaft (p lis) - ben tigt, um Gl ckseligkeit zu erlangen. Das Schlusswort gilt der berlegung, inwiefern Aristoteles' Thesen ber das Gl ck in der Gegenwart G ltigkeit erhalten und ob das Erlangen der vollkommenen Gl ckseligkeit f r den Menschen von heute etwas leichter in einer (staatlichen) Gemeinschaft gelingt oder eher au erhalb von ihr. Als Prim rquellen werden f r diese Arbeiten die Werke "Politik" (Abk rzung im Folgenden mit: Pol.) und "Nikomachische