Cunningham, Merce. (1919-2009). Changes: Notes on Choreography - SIGNED. New York: Something Else Press. 1968.
A rare signed copy of the pioneering American modern dancer and choreographer's experimental book on choreography. He has signed and inscribed on the title page to Paul McMahon. The book contains facsimiles of Cunningham's notes and sketches, photographs, music, and other documents, laid out in a collage-like design. 174 pp., unpaginated. Hardcover, with original dust jacket; light shelf wear to jacket, but overall in fine condition. 6.25 x 9.5 inches (16 x 24 cm).
From the flap notes: "Cunningham approaches the dance in terms of its primary elements - movement in space and time - and the source from which they spring - stillness. He examines the theater in terms of the presence - or absence - of movement, sound, light, decor and costume. He explores these elements separately, then superimposes them upon each other, and sometimes back upon themselves. He further opens his work to the possibilities inherent in each element through chance, a means of introducing variety into the compositional procedure."
Cunningham, Merce. (1919-2009). Changes: Notes on Choreography - SIGNED. New York: Something Else Press. 1968.
A rare signed copy of the pioneering American modern dancer and choreographer's experimental book on choreography. He has signed and inscribed on the title page to Paul McMahon. The book contains facsimiles of Cunningham's notes and sketches, photographs, music, and other documents, laid out in a collage-like design. 174 pp., unpaginated. Hardcover, with original dust jacket; light shelf wear to jacket, but overall in fine condition. 6.25 x 9.5 inches (16 x 24 cm).
From the flap notes: "Cunningham approaches the dance in terms of its primary elements - movement in space and time - and the source from which they spring - stillness. He examines the theater in terms of the presence - or absence - of movement, sound, light, decor and costume. He explores these elements separately, then superimposes them upon each other, and sometimes back upon themselves. He further opens his work to the possibilities inherent in each element through chance, a means of introducing variety into the compositional procedure."