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Yvonne Rainer’s Archive

Published online by Cambridge University Press:  01 December 2021

Emily Coates
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Abstract

A close reading of Yvonne Rainer’s archival papers reveals new insights into the postmodern iconoclast. Revivifying Rainer’s early choreographic practice and verbalembodied explorations, Rainer’s own notes and journals illuminate and challenge reductive interpretations of a writing dance artist’s work over time.

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Type
Article
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TDR , Volume 65 , Issue 4 , December 2021 , pp. 84 - 102
Copyright
© The Author(s) 2021. Published by Cambridge University Press for Tisch School of the Arts/NYU

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References

References

Archias, Elise. 2016. “Introduction: When the Body Is the Material.” The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci. New Haven, CT: Yale University Press.Google Scholar
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Lambert-Beatty, Carrie. 2008. Being Watched: Yvonne Rainer and the 1960s. Cambridge, MA: The MIT Press.Google Scholar
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Rainer, Yvonne. 1963a. Typed copy of “Holst Solos.” Box 21, Folder 17: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
Rainer, Yvonne. 1963b. “Meditation from Thais,” white loose-leaf notebook paper. Box 21, Folder 17: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
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Rainer, Yvonne. 1963e. “JD Bach — Terrain,” loose-leaf yellow legal paper. Box 21, Folder 18: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
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Rainer, Yvonne. 1963g. “hip undulations,” loose white paper. Box 21, Folder 18: Scores and notes, 1963. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
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Rainer, Yvonne. 1964a. “weights and measures,” loose-leaf notebook paper. Box 21, Folder 20: Dialogues, 1964. Yvonne Rainer papers, 1871–2013, bulk 1959–2013, Getty Research Institute, Los Angeles, Accession no. 2006.M.24.Google Scholar
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Rainer, Yvonne. (1968) 1999. “A Quasi Survey of Some ‘Minimalist’ Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A.” In A Woman Who…: Essays, Interviews, Scripts, 30–37. Baltimore, MD: Johns Hopkins University Press.Google Scholar
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TDReadings

Nicely, Megan V. 2016. “Sara (the smuggler): Choreographing a Transparent Archive.” TDR 60, 4 (T232):143–48. https://doi.org/10.1162/DRAM_a_00601.CrossRefGoogle Scholar
Van Hensbergen, Rosa. 2019. “Dance X Fase X Quad: Choreographic Seeing in Lucinda Childs, Anne Teresa de Keersmaeker, and Samuel Beckett.” TDR 63, 3 (T243):108–27. https://doi.org/10.1162/dram_a_00859.CrossRefGoogle Scholar
Whatley, Sarah. 2017. “Transmitting, Transforming, and Documenting Dance in the Digital Environment: What Dance Does Now that It Didn’t Do Before.” TDR 61, 4 (T236):78–95. https://doi.org/10.1162/DRAM_a_00693.CrossRefGoogle Scholar