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That coming together was underpinned by an exploration of different dance forms and techniques. After graduation in 1979, Clark joined Rambert (then Ballet Rambert) where he worked principally with Richard Alston. A summer school with choreographer Merce Cunningham and composer John Cage led to a stint in New York, working with Karole Armitage, and through her he met the film-maker and lighting designer Charles Atlas, who has worked on his productions ever since. He studied hard, learning about other American contemporary dance makers such as Yvonne Rainer and Trisha Brown. But his own punk sensibilities, and his liking for the kind of theatrical expressiveness of costume and dressing-up represented by his friend, the performance artist and club icon Leigh Bowery, made him want to collide the austerity of classical and contemporary dance with something quite different.
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That coming together was underpinned by an exploration of different dance forms and techniques. After graduation in 1979, Clark joined Rambert (then Ballet Rambert) where he worked principally with Richard Alston. A summer school with choreographer Merce Cunningham and composer John Cage led to a stint in New York, working with Karole Armitage, and through her he met the film-maker and lighting designer Charles Atlas, who has worked on his productions ever since. He studied hard, learning about other American contemporary dance makers such as Yvonne Rainer and Trisha Brown. But his own punk sensibilities, and his liking for the kind of theatrical expressiveness of costume and dressing-up represented by his friend, the performance artist and club icon Leigh Bowery, made him want to collide the austerity of classical and contemporary dance with something quite different.
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That coming together was underpinned by an exploration of different dance forms and techniques. After graduation in 1979, Clark joined Rambert (then Ballet Rambert) where he worked principally with Richard Alston. A summer school with choreographer Merce Cunningham and composer John Cage led to a stint in New York, working with Karole Armitage, and through her he met the film-maker and lighting designer Charles Atlas, who has worked on his productions ever since. He studied hard, learning about other American contemporary dance makers such as Yvonne Rainer and Trisha Brown. But his own punk sensibilities, and his liking for the kind of theatrical expressiveness of costume and dressing-up represented by his friend, the performance artist and club icon Leigh Bowery, made him want to collide the austerity of classical and contemporary dance with something quite different.
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"just putting some interesting quote here, trying to break the line, should be fine now."
