| OCR Text |
Show The Daily Utah Chronicle, Friday, February 21, Page Eight RDT is living museum of modern dance in U.S. Through the efforts of Virginia Tanner and by virtue of Utah's excellent dance reputation, the Foundation chose Salt Lake City to house its notion of a repertory TJThen the word "museum" comes up uith respect to company one whose function would be to preserve the dance, one of the first images it conjures up is that of the best of modern's past and, by encouragement of young "museum piece" interesting, perhaps, for the dilettante talent, to ensure the development of its future. and deserving of instant to the museum from Eight young, talented dancers were selected to pilot the whence it came. group that would show, among other things, that there is of Utah's cultural life outside New York City. Repertory Dance Theatre, the University official resident dance company, brings vitality to the Linda C Smith, a charter member and current artistic it its of the company, recalls, "VTe were formed as an 20th director museum. of the dance year, Celebrating concept American has become a repository of the best of a uniquely egalitarian group. Not only were we dancing, but we w ere dance form modern dance. making artistic decisions as a group. We were chosen for skill and for our willingness to work with new as w ell as old ROT choreographers and to choreograph ourselves." The Rockefeller Foundation grant sustained RDT until 1974. Vigorous support also came from the National Endowment for the Arts, which picked up the company 1 for its Dance Touring and Artists in the Schools programs. RDT became a pioneer in the "residency" As Don Anderson, one of RDTs former associate concept. Under that banner, it was able to bring to both rural and urban populations the best works of the best managers observed, "VTc dance companies) do an awful lot to preserve works from Russia, Denmark, England, American choreographers. and every place else. Even the artistic directors of most of The first year RDT was turned loose financially from VThere's sense of our Rockefeller Foundation, its reputation and level of the ballet our companies are foreigners. activity was such that it earned 71 percent of its own preserving what is ours in dance?" had Rockefeller 20 Foundation income. Even the fact that it had survived nine years in a the Clearly, years ago, the same question, for they began seeking places to plant market that sees many companies fold in five is a testament seed money for a variety of artistic endeavors. to its significance, but RDPs generation of so much of its own income is uncommon in the annals of modern dance. Sadly, government priorities and expenses being what they were in the late 1970s, touring became so expensive that it could no longer be a source of revenue. Disappearing funds combined with other factors left the group with a $90,000 deficit at the beginning of this by Karen Anne Webb Staff writer gjgjlj decade. 1985 Road Bikes M5 to 175 OFF Free Nova Handle Bar Bag With Each Bike Sold Half Price MSR Bike Helmets I Intelligent management and sacrifice on the part of dancers and staff have turned the financial picture around. The fiscal hard times necessitated a change in the company's management that actually began in the late 70s. The egalitarian system did not lend itself to dealing with crises. As long as chances could be taken and mistakes made, it was fine, but the dearth of funds made quick, good decisions and role clarification the order of the day. Smith and Kay Clark, other charter members, were still with the company when the decision was made to have an official artistic director. Clark assumed the directorship at Wilderness Experience & Sierra Designs Sleeping Bags the behest of the company in 1978 with Smith as her associate. The directorship passed to Smith in 1983. Still, it is not a directorship in the sense that RDT revolves around the choreographic gifts of its artistic director. Smith does choreograph, but the purpose of the company remains to preserve the best of w hat w ent before and to foster the best of what is to be. VTe w ork in so many styles," says Smith, "that it takes a monumental amount of work just to bring justice to them all. VTe train in the styles of the choreographers whose work we present. VTe even have choreologists give us classes w hen we're working on pieces they've notated." As a result, the company is frequently complimented on its artistic integrity. The dancers, who are chosen for (among other things) their fiexibilty when dealing with new ideas in movement, admit to some scrambling of their grey cells when they have to shift back and forth between styles. Still, the clarity they bring to their presentations of works from artists as diverse as Doris Humphrey, Glen Tetley, and Marina Harris speak to their dedication and talent. This year, RDT was asked for the first time to do a residency for the university. As a group, they are teaching a repertory class for modern dance majors. Efforts to make this a shared, integrated experience are evident they teach the class, the class performs for them, they perform for the class. The class has even earned a slot in the week of workshops and performances being given as part of an anniversary week celebration. What remains ahead? Company and community supporters feel that a chamber space that could be shared by RDT and other groups that don't need a theatre the size of the Capitol would be a gold mine; continued touring ("We sell Utah when we tour," says Smith), possibly to Europe; and, continued importing of major talents ("We enrich Utah when we bring artists in,") arc priorities. Fund raising is something they would like to give up, if only to give their loyal supporters a break, but private funding is important with the economy the way it is. Perhaps just a nudge to those leery of "modern dance" would help increase audience and revenues. Repertory Dance Theatre is a national treasure, the first and best of its kind. For every provocative piece it presents, there is one dramatically lyrical; for every one humorous, there is one profound. To watch them in performance is to feel a small twinge of pride for the grass roots beauty that is American dance. ON SALE Selected Clothing & Fischer Racing Skis Discounted Utah Media Center TO FACULTY AND STUDENTS Many of you will soon be receiving a questionnaire asking for your ideas on ADD IT UP! SHARP gives you more features for less money. starring JAMES Fri. 9:00; Sat. 6:15; Undergraduate Education at the G. plus 33 EL-512- -T EL-50- 50 Business Financial $39.95 Programmable Scientific Alpha-numer- ic Programmable Financial with BASIC . EL-55- 10 - . . - : . $39.95 .J by ALFRED. HITCHCOCK Fri. 7:00; Sat. 9:45; Sun. 8:45 DISCOUNT TICKETS at UNION $99.95 .v Dozens of models in stock! - ; i " FROM 10 shoes ALL MAKES TYPEWRITER COMPANY 777 South State (Across from Sears) Phone Mon.-Fr9 00 a m to 5 30 p m Sat. 9 00 a m to 4 00 p.m. , basics 60 tights - Danceu)ear Unlimited 328-494- 1 i. Selected Items one. get one tree TO Weekdays 9:00 - 6:00 South West Temple 534-11- 58 Activities This Weekend Nerd Contest v Friday, Feb. 21st, 3:30 in the Union Little Theater. King & Queen will each receive a $50 cash prize. Open to everyone! Spectators welcome! Ski Day Saturday, Feb. 22nd at Solitude DANCE WEAR $69.95 , Buy Notorious directed oO' r- Electronic Calculators EL-5- 5:15 Engineering Week Smie I Sun. starring Ingrid Bergman, Cary Grant 20 SHARP DEAN ELIZABETH TAYLOR, ROCK HUDSON Please return this promptly. Your ideas and help are vitally important. I 19S6 OFF everything . 1 '70 since Sat. 9:00 So. 1 100 E. Sail Lam Cily, utan 801 - 48 - 9154 4874 Hoiiaoar Bid tik City, utan 801 - 278 - 0821 San -- 5:30 SI No. Ma,n St. Kayirttta. utan 801 - S44 -- 8592 ; Show your U. of U. ID for a discount $9 full day pass. Overflow area of the cafeteria is reserved for us to meet for ' lunch at 12:30. ; Engineers Week Banquet Saturday, Feb. 22nd at 6:00 Tickets $10, purchase at Eng. Dean's Office, MEB 3022. Astronaut Mary Cleave speaking. |
