Sara Rudner

Jeune et naïf, Claude Bukowski arrive à New York pour se rendre au bureau de recrutement de l'armée. Mais en chemin, il se retrouve au milieu d'un happening de hippies dans Central Park et tombe immédiatement amoureux de la belle Sheila. Berger, le leader pacifiste des hippies, décide de prendre Claude sous son aile et l'encourage à braver tous les obstacles pour qu'il déclare sa flamme à la jeune fille. Pour Claude, c'est le début d'une aventure qui le conduira de la prison à l'armée, en passant par le lac de Central Park. Mais Berger, dans un ultime effort pour empêcher Claude de participer à la guerre du Vietnam, provoquera, sans le savoir, un retournement de situation aux conséquences dramatiques.

Seamlessly blending elements of movement and music, Twyla Tharp choreographs a rock 'n' roll dance spectacular, set to a score by former Talking Heads front man David Byrne. Adapted for television by Tharp from the original Broadway production, this memorable performance showcases the talents of dancers Sara Rudner, Jennifer Way, Tom Rawe, Katie Glasner, Raymond Kurshals, Shelly Washington, Christine Uchida and John Carrafa.

The human form is used in composition with geometric form in an exploration toward a third dimension through juxtaposition of color and line.

Made in 1980, this film explores the contemporary dance scene through the work of seven New York-based choreographers. They discuss the nature of dance and the evolution of their own work. Filmed at rehearsals, performances, and during interviews, the film is a unique primary source. The artistic roots of these seven artists can be found in Martha Graham's concern with modern life as a subject for dance and in Merce Cunningham's emphasis on the nature of movement. In the 1960s, the interaction of art forms generated choreographic innovations. Especially influential was John Cage, whose radical ideas served as a point of departure for much of the new choreography. Each of the choreographers in Making Dances draws inspiration from the Graham/Cunningham tradition, yet each makes a highly distinctive statement. Structure, movement in non-fictive time and space, and the nature of movement itself are recurring themes.

The human form is used in composition with geometric form in an exploration toward a third dimension through juxtaposition of color and line.