Theatre Design & Technology - Dec 1970 - 6

York City seems proud enough to be the dance
center of the world, and has even awarded its
highest cultural award (the Handel Medall ion) to
both George Balanchine and Martha Graham. However, during the last decade, the city administration
has been notoriously hypocritical by not helping out
at the level of artist's housing and direct subsidies.
The city seems to want to have its cake and eat it
too. It likes the glamour and cash that art brings in
but refuses to help the artist find adequate space
in which to live, work, and produce this muchdesired art.
So we are back to the subject and the problem:
space. Although this is a problem for many artists
in the city, it is the crucial one for the creative
dance artist, especially for the new generation of
choreographers. The new creative impetus in the
field at the moment is not movement. The really
new concepts concern spacial and audience relationships. There is a new experimentation with
volume/ dimension, and dance-in-the-round. The
proscenium-arch theatre space can still serve the
traditional ballet (and much "modern" dance) but
not the fresh new ideas of a growing band of talented choreographers whose works often include
film and other media as well as the audience itself.
During the last decade, the only theatre facility
built to house dance activities is now devoted entirely to the establishment New York City Ballet.
Where are the exciting and necessary new developments to occur? Economically, the artist is up
against the wall in the big city. A medium-sized,
reasonably priced loft space to work in is now for
many individuals as difficult to find as it is for
relatively large organizations such as the Dance
Theatre Workshop. Rents regularly jump 30 to 40
percent. The city administration admits that thousands of businessmen have fled the city-the artists
may be forced to leave too.
The theatrical unions are themselves a major
source of the dilemma, withtheirenormousfinancial
demands and their reluctance to give any concessions to small non-union groups. This year the
New York State Council on the Arts has had to
vote survival funds to all dance groups, especially
those playing union houses. The biggest item on
every budget was the salaries of the stage hands
and musicians. (The next biggest item is usually
publicity, with dancer's salaries following.) A
medium-sized dance company must spend ten to
fifteen thousand dollars to present one evening of
dance in any of the adequate theatres in the city.
It comes down to the fact that it is the artist in
America, particularly the dancer, who is subsidizing
the arts.
Any artist wants to be widely recognized and
have his work seen by as many people as possi-

6

ble. It should not be necessary for contemporary
dance to have to go to the Broadway market place
(Billy Rose, City Center) which is antithetical to its
new trends both financially and architecturally.
The dance groups that tour frequently bring back
tales of fabulous new multipurpose houses on many
college and university campuses; theatres whose
spaces open up exciting new visions of dance and
drama, spaces that involve the performers and audience in new modes of contact that the proscenium
arch does not allow. In other words, just what the
young innovators in New York are after.
Since economics and the existing situation seem
to preclude the building of new facilities for dance
groups in New York, perhaps more thought should
be given to affiliating with institutions (either public or private) that are building and continue to
build new imaginative performance facilitiesschools, universities, museums, etc.
It is frustrating to note that boards of trustees
will authorize bold new architecture, but pull up
short when subsidizing the equivalents in performing groups to occupy the structure. Nevertheless
dance is a group repertory effort. To grow and
realize its potential, a company must have stability and continuity, that is, a permanent home in an
adequate facility.
Over the last two decades, there have been efforts by many influential individuals and groups to
establish a New York dance center-a theatre dedicated solely to dance, serving the whole field, a
kind of Lincoln Center of the dance. At this point
this seems neither feasible nor desirable. Alternatives are desperately needed and must be found.
One alternative: Let the powers that be. the New
York City Office of Cultural Affairs, the New York
State Council of the Arts, the Association of American Dance Companies, the American Guild of Musical and Dance Artists, the United States Institute
of Theatre Technology, and the Rockefeller, Ford,
Kaplan, and other foundations-let these cooperatively use their influence and resources to aid
those individuals and groups who are seeking adequate space for their operations.
Taking each in turn, meeting the specific needs
of each artist or group, should not require the
moving of mountains of each. However, since
space can be translated into real estate, the groups
listed above could be most helpful in alleviating
the problems that inevitably arise in searching for
new spaces and in supplying immediate cash outlays for worthy projects.
All the arts need help, and agencies and foundations are beseiged from all quarters. But the dance
is in a crucial transition phase. And considering the
resources of these groups and the city, this help
does not seem too much to ask.

[]]ill] THEATER DESIGN AND TECHNOLOGY

DECEMBER,1970



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1970

Contents
Theatre Design & Technology - Dec 1970 - 1
Theatre Design & Technology - Dec 1970 - 2
Theatre Design & Technology - Dec 1970 - 3
Theatre Design & Technology - Dec 1970 - Contents
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http://www.nxtbookMEDIA.com