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Notes 1. Jill Johnston (pp. 3-10) All references are to articles or books written by Jill Johnston. 1. "Dance Journal," Village Voice, February 20, 1969, p. 25. 2. See Mannalade Me (New York: Dutton, 1971) for a selection ofJohnston's later reviews. 3. "Thoughts on the Present and Future Directions of Modern Dance," Dance Observer 22 (August-September 1955): 101-102. 4. "The Modern Dance - Directions and Criticisms," Dance Observer 24 (April 1957}: 55-56. 5. "Abstraction in Dance," Dance Observer 24 (December 1957): 151-5z.,~ 6. "Totem," Village Voice, February 3, 1960, 10; "Nikolais at Henry St.," Village Voice, February 16, 1961, p. 7; "The Gentle Tilt," Village Voice, March 26, 1964, p. 5. 7. "Paul Taylor," Village Voice, November 22, 1962, p. 7; "Dance Journal: Paul Taylor on Broadway," Village Voice, January 12, 1967, p. 20. 8. "Old Hat and New in Connecticut," Village Voice, September 8, 1960, p.lO. 9. "Merce Cunningham & Co.," Village Voice, February 24, 1960, p. 6. 10. "Cunningham in Connecticut," Village Voice, September 7, 1961, p. 4; "Cunningham in Hartford," Village Voice, April 9,1964, p. 19. 11. "Fresh Winds," Village Voice, March 15, 1962, p. B. 12. "Democracy," Village Voice, August 23, 1962, p. 9. Out of 57 reviews between this review of the first Judson concert and the end of 1965, Johnston devotes 30 (in whole or in part) to Judson Dance Theater and related choreographers like Waring and Passloff, and concerts by Judson Dance Theater members given elsewhere. Eight ofthese 57 reviews are of related nondance events, happenings, music, Fluxus, etc. She reviews Cunningham twice during this period. B. "Fluxus Fuxus," Village Voice, July 2, 1964, p. 7. 14. "Preface," Mannalade Me, p. 14. 15. "Lois Lane Isa Lesbian," Village Voice, March 4,1971, p. 9. Reprinted in Jill Johnston, Lesbian Nation (New York: Simon and Schuster, 1973), p.143. 16. Personal communication from Diane Fisher, Johnston's former editor at the Voice, January 21, 1980. 353 354 Noles 17. Johnston began writing on dance and art again after this article was published . 18. "Judson concerts #3, #4," Village Voice, February 28, 1963, p. 9. 19. "Kings and Queens," Village Voice, June 27, 1963, p. 9. 20. "Cunningham, Lim6n," Village Voice, September 5, 1963, p. 10. 21. In "Boiler Room," Village Voice, March 29, 1962, p. 14, Johnston quotes Antonin Artaud: "There is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead ofbeing like victims burnt at the stake, signaling through the flames." 22. "Pain, Pleasure, Process," Village Voice, February 27,1964, p. 15. 23. "Critics' Critics," Village Voice, September 16,1965, p. 18. 2. Working and Dancing (pp. 10-161 This paper was originally an invited response to Monroe Beardsley's paper for the expanded proceedings of the "Illuminating Dance" conference. The authors wish to express their gratitude to Monroe Beardsley, Maxine SheetsJohnstone , Selma Jeanne Cohen, Adina Armelagos, and Anne Hatfield for their careful readings of this paper. 1. Monroe C. Beardsley, "What Is Going On in a Dance?" Dance Research Journal 15/1 (Fall 1982): 31-36. All mentions of Beardsley refer to this paper, given at a conference entitled "Illuminating Dance: Philosophical Inquiry and Aesthetic Criticism," cosponsored by CORD and the Dance Department ofTemple University, held at Temple University May 5, 1979. 2. Yvonne Rainer, "Some retrospective notes on a dance for 10 people and 12 mattresses called Parts ofSome Sextets, performed at the Wadsworth Atheneum , Hartford, Connecticut, and Judson Memorial Church, New York, in March, 1965," Tulane Drama Review 10 (T-30; Winter 1965): 168. Reprinted in Yvonne Rainer, Work 1961-73 (Halifax, Nova Scotia: The Press of the Nova Scotia College of Art and Design; New York: New York University Press, 1974), p. 45. In her discussions of Room Service in Work 1961-73, on pp. 45 and 294, Rainer may give the impression that the first performance of the work was the one in Philadelphia in April 1964. However , it was first performed as a choreographic collaboration between Rainer and sculptor Charles Ross at Concert of Dance 13, on November 10-12, 1963, at the Judson Memorial Church in New York City. 3. Quoted from Marcia B. Siegel by Professor Beardsley, p. 33, in order to show why the movement in Rooms is dance. 4. Trisha Brown's Equipment Pieces are well documented in Sally R. Sommer, "Equipment Dances: Trisha Brown," The Drama Review 16 (T-55; September 1972): 135-41. Simone Forti writes about her...

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