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So the last time they spoke, about a week before she died, the playwright and poet Ntozake Shange had a question for her director, Leah C.
Shange, who died last October at 70, envisioned the production as a celebration. Gardiner said one August afternoon at the Public, her voice thickening with emotion.
The show has been part of the canon since it became a Broadway hit in Many people, too, encounter it only on the page, in a text alive with references to music and movement.
But so are all plays. She also spent about nine months after college as a personal assistant to Shange. As Ms. Fittingly, the creative team for the new production will be made up entirely of women of color. I work with an awful lot of guys.
Likewise for Ms. It depends on the day. In its figure of a young black woman, she said, she saw someone who looked like her. Gardiner joined the project last year. Yet the show has evolved over the years. Home Page World U.
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Gardiner, the definition is not that complicated. Shange , who died last year, had just met Ms. Moss in a dance class and invited her to a poetry reading. Moss recalled in a telephone interview from her home in Rome. Everyone was shocked. But she was talking about standing still.
From then on, whenever Shange recited her poetry, she moved. Often, Ms. Moss would be beside her, improvising in dance. Moss recalled. And movement and words came from the same breath. There could be no separation. After Shange and Ms. Moss drove to New York City, the work acquired a director and a more fixed shape.
Eventually, at the Public Theater and then on Broadway, it became a landmark production of American theater, its script a classic of African-American literature. But it is not always remembered that it all started with a poet dancing. Shange, for her part, persistently emphasized the importance of dance in her life and work, the way it connected her to her body and her African-American heritage. After Shange relocated to New York, her favorite dance classes were those she took as a scholarship student at Sounds in Motion, the Harlem studio of the choreographer Dianne McInytre.
Over the phone from Cleveland, Ms. McIntyre often worked with her as a choreographer and a dancer. Everybody does everything. Everybody is thinking motion. She caught it with language. Yet some audience members, Ms. Moss recalled, wondered where the choreography was. The choreography was within the poem and the performer. We worked hard to be free in our bodies as we recited the words.
It was a form of theater that Shange often had to defend. Brown knows something about the borderline between theater and dance. She is one of very few choreographers to maintain a successful contemporary dance troupe hers performs at the Joyce Theater Nov. Interviewed before a recent rehearsal, Ms. Much of her work is rooted in social dance and gesture. Before her death, Shange interviewed Ms.
Brown for a book she was writing about dance. Brown recalls thinking. Gardiner that Ms. Brown was her choice for choreographer. But, especially as a choreographer working in theater, Ms. Gardiner described the making of this choreopoem as a process of unusually pervasive collaboration. Working that way is costly, Ms. Gardiner noted. A time that recalls an earlier time.
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Sep 26, · Rehearsals are underway for the Public Theater’s revival of Ntozake Shange’s For Colored Girls Who Have Considered Suicide/When the Rainbow Is liz.calcionotizie24.neted by Obie winner Leah C. . "For Colored Girls Who Have Considered Politics is a fascinating look at the cultural diaspora charting their path as the behind-the-scenes movers of American history. And hopefully, as candidates of color rise, this tome can soon lead to stories of diverse, female figureheads leading the torch for generations to come."—Nick Fouriezos, Ozy. for colored girls who have considered suicide/when the rainbow is enuf is a choreopoem, a poem (really a series of 20 separate poems) choreographed to music. Although a printed text cannot convey the full impact of a performance of for colored girls, Shange's stage directions provide a sense of the interrelationships among the performers and of their gestures and dance movements.