Hostname: page-component-78c5997874-t5tsf Total loading time: 0 Render date: 2024-11-19T05:32:03.932Z Has data issue: false hasContentIssue false

Yvonne Rainer’s Archive

Published online by Cambridge University Press:  01 December 2021

Abstract

A close reading of Yvonne Rainer’s archival papers reveals new insights into the postmodern iconoclast. Revivifying Rainer’s early choreographic practice and verbalembodied explorations, Rainer’s own notes and journals illuminate and challenge reductive interpretations of a writing dance artist’s work over time.

Type
Article
Copyright
© The Author(s) 2021. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Archias, Elise. 2016. “Introduction: When the Body Is the Material.” The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci. New Haven, CT: Yale University Press.Google Scholar
Banes, Sally. 1979. Terpsichore in Sneakers: Post-Modern Dance. Boston, MA: Houghton Mifflin.Google Scholar
Lambert-Beatty, Carrie. 2008. Being Watched: Yvonne Rainer and the 1960s. Cambridge, MA: The MIT Press.Google Scholar
Gaines, Malik. 2018. “Real People.” Judson Dance Theater: The Work Is Never Done, ed. Janevski, Ana and Lax, Thomas J., 6067. New York: Museum of Modern Art.Google Scholar
Rainer, Yvonne. 1963a. Typed copy of “Holst Solos.” Box 21, Folder 17: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963b. “Meditation from Thais,” white loose-leaf notebook paper. Box 21, Folder 17: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963c. “Diagonal Section (with Passing and Jostling),” loose-leaf notebook paper. Box 21, Folder 18: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963d. “Diagonal” typed score. Box 21, Folder 18: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963e. “JD Bach — Terrain,” loose-leaf yellow legal paper. Box 21, Folder 18: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963f. “Walking Solo,” loose-leaf yellow legal paper. Box 21, Folder 18: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963g. “hip undulations,” loose white paper. Box 21, Folder 18: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963–65. Notebook 1963–65. Box 1, Folder 6: Notebook 1963–65. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1964a. “weights and measures,” loose-leaf notebook paper. Box 21, Folder 20: Dialogues, 1964. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1964b. “with Judy,” loose-leaf white notebook paper. Box 21, Folder 20: Dialogues, 1964. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. ca. 1965a. Notebook entry, “Excerpts from tape that accompanied Parts of Some Sextets — from the Diary of D.D. Bentley.” Box 1, Folder 8: Notebook circa 1965 Parts of Some Sextets. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1965b. “Some Retrospective Notes on a Dance for 10 People and 12 Mattresses Called Parts of Some Sextets, Performed at the Wadsworth Atheneum, Hartford, Connecticut, and Judson Memorial Church, New York, in March, 1965.” Tulane Drama Review [ TDR] 10, 2 (T30):168–78.CrossRefGoogle Scholar
Rainer, Yvonne. 1965–66. Green University notebook. Box 1, Folder 9: 1965–66. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. (1968) 1999. “A Quasi Survey of Some ‘Minimalist’ Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A.” In A Woman Who…: Essays, Interviews, Scripts, 3037. Baltimore, MD: Johns Hopkins University Press.Google Scholar
Rainer, Yvonne. 1974. Work 1961–1973. Halifax, N.S.: Press of the Nova Scotia College of Art and Design; New York: New York University Press.Google Scholar
Rainer, Yvonne. 2020. Personal email correspondence with author, 29 April.Google Scholar

TDReadings

Nicely, Megan V. 2016. “Sara (the smuggler): Choreographing a Transparent Archive.” TDR 60, 4 (T232):143–48. https://doi.org/10.1162/DRAM_a_00601.CrossRefGoogle Scholar
Van Hensbergen, Rosa. 2019. “Dance X Fase X Quad: Choreographic Seeing in Lucinda Childs, Anne Teresa de Keersmaeker, and Samuel Beckett.” TDR 63, 3 (T243):108–27. https://doi.org/10.1162/dram_a_00859.CrossRefGoogle Scholar
Whatley, Sarah. 2017. “Transmitting, Transforming, and Documenting Dance in the Digital Environment: What Dance Does Now that It Didn’t Do Before.” TDR 61, 4 (T236):7895. https://doi.org/10.1162/DRAM_a_00693.CrossRefGoogle Scholar