《Merce Cunningham 舞蹈作品集》(Merce Cunningham Collection vol. 1)[DVD]
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引用Merce Cunningham Collection: Vol 1
Deli Commedia (1985, 18 minutes, color)
Changing Steps (1989, 35 minutes, color, b w)
Beach Birds For Camera (1993, 28 minutes, color, b w)
A new DVD combines three classic video and film dances made by Merce Cunningham and Elliot Caplan previously available only on VHS. This DVD also features introductions to DELI COMMEDIA and BEACH BIRDS FOR CAMERA by Merce Cunningham. (DVD is non-coded, so will play in any region.)
(http://www.merce.org/shop.html#collection)
引用 Camera space presents a challenge. It has clear limits, but it also gives opportunities of working with dance that are not available on the stage. The camera takes a fixed view, but it can be moved. There is the possibility of cutting to a second camera which can change the size of the dancer, which, to my eye, also affects the time, the rhythm of the movement. It also can show dance in a way no possible on the stage: that is, the use of detail which in the broader context of theatre does not appear. Working with video and film also gives me the opportunity to rethink certain technical elements. For example, the speed with which one catches an image on the television made me introduce into our class work different elements of movement concerned with tempos which added a new dimension to our general class work behaviour.
(http://www.play.com/play247.asp?page=title...6=3JW7SB)
引用 康宁汉 Merce Cunningham ─ 机遇编舞法
说编舞家，不能不说来自美国的康宁汉（ Merce Cunningham ），这位先锋派的舞蹈家最伟大的地方是创立了一种充满机遇的编舞方法，解放了传统的舞蹈。
康宁汉从 1942 年开始从事编舞工作， 1945 年他为求从传统现代舞中寻找出路，创立了自己的舞团。直到 1951 年，《易经》的英文版面世，使他和创作拍挡音乐家 John Cage 从古老的「周易」中国文化中找到了新灵感，并发展出一整套充
满机遇性的艺术体系。
康宁汉使舞蹈演变成一种非线性的、不受可预测的逻辑制约的、充满观眾意想不到的舞台活动。他曾强调「舞蹈的主体就是舞蹈本身」，所以最关心的是纯粹动作，因为动作本身自有其价值。
康宁汉说：「如果一个舞者跳舞——不同於拥有一个舞蹈理论，或是希望能跳舞或是尝试去跳舞，或是用自己的身体去记住别人的舞──而是一个舞者在跳舞，所有东西都在那儿了。」这话的意思是，当跳舞时，它代表了正在做的事。
他利用舞台实现人、动作和环境的各种可能性，他以抽籤方式决定整部舞蹈的演出程序，后来，他用计算机；他更试过把早期的作品中一些舞段抽出，然后运用机遇编舞法决定演出的程序、演员人数和演出长度。
这种毋须任何合理性的解释或者存在某种内在逻辑上的先后次序，就是「禪宗」——有自己的想法，同时放弃理性。
(http://www.hkadc.org.hk/art_talk/dance_4.html)
引用Merce Cunningham Collection: Vol 1
Deli Commedia (1985, 18 minutes, color)
Changing Steps (1989, 35 minutes, color, b w)
Beach Birds For Camera (1993, 28 minutes, color, b w)
A new DVD combines three classic video and film dances made by Merce Cunningham and Elliot Caplan previously available only on VHS. This DVD also features introductions to DELI COMMEDIA and BEACH BIRDS FOR CAMERA by Merce Cunningham. (DVD is non-coded, so will play in any region.)
(http://www.merce.org/shop.html#collection)
引用 Camera space presents a challenge. It has clear limits, but it also gives opportunities of working with dance that are not available on the stage. The camera takes a fixed view, but it can be moved. There is the possibility of cutting to a second camera which can change the size of the dancer, which, to my eye, also affects the time, the rhythm of the movement. It also can show dance in a way no possible on the stage: that is, the use of detail which in the broader context of theatre does not appear. Working with video and film also gives me the opportunity to rethink certain technical elements. For example, the speed with which one catches an image on the television made me introduce into our class work different elements of movement concerned with tempos which added a new dimension to our general class work behaviour.
(http://www.play.com/play247.asp?page=title...6=3JW7SB)
引用 康宁汉 Merce Cunningham ─ 机遇编舞法
说编舞家，不能不说来自美国的康宁汉（ Merce Cunningham ），这位先锋派的舞蹈家最伟大的地方是创立了一种充满机遇的编舞方法，解放了传统的舞蹈。
康宁汉从 1942 年开始从事编舞工作， 1945 年他为求从传统现代舞中寻找出路，创立了自己的舞团。直到 1951 年，《易经》的英文版面世，使他和创作拍挡音乐家 John Cage 从古老的「周易」中国文化中找到了新灵感，并发展出一整套充
满机遇性的艺术体系。
康宁汉使舞蹈演变成一种非线性的、不受可预测的逻辑制约的、充满观眾意想不到的舞台活动。他曾强调「舞蹈的主体就是舞蹈本身」，所以最关心的是纯粹动作，因为动作本身自有其价值。
康宁汉说：「如果一个舞者跳舞——不同於拥有一个舞蹈理论，或是希望能跳舞或是尝试去跳舞，或是用自己的身体去记住别人的舞──而是一个舞者在跳舞，所有东西都在那儿了。」这话的意思是，当跳舞时，它代表了正在做的事。
他利用舞台实现人、动作和环境的各种可能性，他以抽籤方式决定整部舞蹈的演出程序，后来，他用计算机；他更试过把早期的作品中一些舞段抽出，然后运用机遇编舞法决定演出的程序、演员人数和演出长度。
这种毋须任何合理性的解释或者存在某种内在逻辑上的先后次序，就是「禪宗」——有自己的想法，同时放弃理性。
(http://www.hkadc.org.hk/art_talk/dance_4.html)