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Mark Morris Dance Group Tickets

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Mark Morris Dance Group

Mark Morris is an American modern dancer, choreographer and director whose work is appreciated for his craftsmanship, ingenuity, humor, and at times eclectic musical accompaniments. Morris is famous among dance fans as well as mainstream audiences. >> More alt

Upcoming Schedule
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City
Dates
Berkeley
9/25/08 to 5/31/09
 
Boston
3/19/09 to 3/22/09
 
Seattle
5/1/09 to 5/2/09
 
 

About Mark Morris Dance Group

Morris was born in Seattle, in a family that valued music and dance and nurtured his budding talents. He learnt to read music from his father, while his mother Maxine introduced him to Balkan folk dance, and ballet. He started his career performing with, Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble.

Morris later on(not needed) moved to New York, where he established his own company, named as the Mark Morris Dance Company. The company debuted in 1980. In 1990, Morris and Mikhail Baryshnikov established a group to choreograph and perform new dance named as White Oak Dance Project.

Notable works of Morris include "Gloria", set to Vivaldi, "Championship Wrestling", based on an essay by Roland Barthes, L'Allegro, Il Penseroso, ed Il Moderato, Dido and Aeneas, "The Hard Nut, a campy version of The Nutcracker set in the 1960s, The Office, Greek to Me, a dance version of the Virgil Thomson–Gertrude Stein opera Four Saints in Three Acts, the ballet The Garden, and the modern dance pieces Grand Duo, V and All Fours.

Morris and his Dance Company also got together with cellist Yo-Yo Ma in Falling Down Stairs, a film by Barbara Willis Sweete available on Ma's Inspired by Bach series, volume 2. In casu, Morris choreographed a dance based on Bach's Third Suite for Unaccompanied Cello, which Ma performs. Sweete's film presents the performance as well as its evolution. Morris has also produced with visual artists such as Isaac Mizrahi and Howard.

The upcoming new Italian Concert is full of oracular gestures. Bach's composition was supposedly inspired by his transcriptions for keyboard of concerti grossi by Vivaldi. If Morris has anything Italianate in mind, it emerges mostly in a taste for gesture. Whatever music he chooses, he draws from it forms of mixing and classifying, leading and following, that are both inevitable and surprising. Schumann's Funf Stucke im Volston made him compose the first duet of The Argument.

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