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See our plansThe editor’s letter is always the last to come in the production of the journal. It seems like perhaps a result of procrastination, but in fact it has reason. The...
TH: And the process excruciating? SM: Yes. TH: How so? SM: Many ways...gosh, not sure how to begin...the basic problem of finding rehearsal spaces that could work for this dance...the...
Ursula Eagly: When did you first become involved with the [Movement Research Performance] Journal ? When was that, and what was your first project? TH Harrell: I can’t remember the...
MRPJ #30 is an experiment. A set of inquiries regarding the possible performance of the journal. Possibilities. 1. Not just the performance of the reader and the text, but also...
Steve Reich is a composer who has written music of incredible dexterity, formal complexity, and at times even austerity, but he has done this inclusive of a powerful response to...
The issue of exploring concepts of release through language primarily in the journal and the implications of that came up very often in our editorial meetings as did differences between...
George Stamos: Release is a conversation between tension and release....the kind of release that attracts me is like the kind of release you find in karate, like at the end...
Editors' Notes Release, what is it, what are the assumptions we all make about it, a physical practice, a spiritual practice, a technique, an aesthetic, are we all doing it,...
Mikhail Baryshnikov : There's no such thing or any rules or any set of what comes first the egg or a chicken or milk or a cow. It's internal choice,...
I've been working on a dance piece involving some music from the soundtrack of the movie Fame. Although I tried to write about something else for this issue, in the...
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