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"It's very liberating to be in a new field, dance, to let things come to you and not to make decisions".
In Depth of Field, dance company Chunky Move harnesses the transformation from daylight to darkness with an outdoor performance by three dancers in dialogue with the city.
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The "Field Dances" are different, more closely tied to the score.
"The lighting for the Field Dances is fabulous," Ms. Childs said.
When it ended, Boston players poured onto the field, danced around and sprayed Champagne.
In 1984 Ms. Childs took over the choreography of the two long Field Dances from Andrew deGroat.
The show has two formal dance interludes, the "Field Dances," originally choreographed by Andrew deGroat and remade in their current form by Lucinda Childs for a 1984 revival.
The "Field Dances" have already made those connections, but it's Mr. Wilson who makes them light up — equivocally, as transcendence or nuclear apocalypse.
But the program at Bard, seen on Friday, began on a much quieter note with "Manor Field," danced by students from Bard and the University at Albany, on an expansive, rolling stretch of lawn.
While creating those books, he was also designing costumes for dark, grown-up dance pieces like "Field Dances" (1968), which began with the taped voice-over of "a young lady noting that her marriage went awry after her husband visited a prostitute," according to a review by Clive Barnes in The New York Times.
But the "Field Dances" serve a critical function in Mr. Wilson's scheme, grouped in his thematic structure with the penultimate scene inside a spaceship, where all the horizontals, verticals and diagonals of the whole opera come together in a heavenly switchboard of flashing lights.
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