with all its grace and depravity, contradiction and loss tellingly complements our own search for meaning.
Now seventy-four and celebrating his company's fiftieth anniversary, Taylor came rather late to dance he went to college on a swimming scholarship. (He went on to study and perform with Martha Graham and Merce Cunningham, among others.) As a former elite athlete, he values excellence, discipline, and protocol. Individually or considered together over the course of an evening's program, Taylor's pieces are structured to hit certain marks physical, emotional, visual, and musical. That may sound old fashioned, and in some ways it is, but Taylor's formalism and formality serve a creative muse that is anything but dated. Taylor dances flood the theater with his insatiable curiosity and heart. Thanks to the University Musical Society, Taylor shares a thrilling selection of works from his long career over a two-night stand at the Power Center Friday and Saturday, October 8 and 9.
Over the years Taylor has created more than 100 dances, which divide roughly into three categories: breezy and lyrical; humorous character studies; and starkly pessimistic. But such capsules gloss an essential dualistic worldview. Like any good reporter, Taylor likes to mix it up.