"No to spectacle no to virtuosity no to transformations and magic and make believe no to glamour and transcendency of the star image no to the heroic no to the anti-heroic no to trash imagery no to involvement of performer or spectator no to style no to camp no to seduction of spectator by the wiles of the performer no to eccentricity no to moving or being moved."
About Yvonne Rainer
Yvonne Rainer — Life and Legacy
Yvonne Rainer is a significant figure in contemporary dance, recognized for her groundbreaking work that merges choreography with feminist theory. Her distinctive approach, particularly in pieces like 'Trio A,' challenges traditional notions of movement and performance. Rainer's philosophy is encapsulated in her famous directive, 'No to spectacle,' which reflects her commitment to authenticity and the exploration of the body as a medium of expression. Through her work, Rainer interrogates the relationship between identity and performance, often emphasizing the mundane aspects of life as a source of artistic inspiration. Her piece 'The Mind is a Muscle' exemplifies this, as it delves into the complexities of female identity and the societal expectations placed upon women. By prioritizing the everyday over the extraordinary, Rainer has reshaped the landscape of dance, encouraging a more personal and introspective approach to movement. Today, her influence is evident in the works of many contemporary choreographers who seek to challenge established norms and explore the deeper implications of performance. Rainer's quotes and ideas continue to resonate, prompting discussions about the role of the body, identity, and the politics of representation in art.
Quote collection
Yvonne Rainer quotes
3 quotes — follow a thought to its full quote page.
"I always like to cite John Cage's mantra, "If you can stand it for two-minutes, try it for four." In fact, when I look at some of those early films of mine, I think, "Oh my God. Cut it, cut it." The general sense of duration has changed over the years, my own sensibility with it."
"I should say that feminism gave me permission to deal with my own emotional life and put it up front in certain ways, or use film as a way to examine, at that time, my own heterosexual experience. Lives of Performers was the beginning of that kind of investigation. But also, the film was influenced by the aesthetics and structures of experimental film as that was taking place at the same time. Hollis Frampton was a big influence on me at that time."