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Houston Voice, No. 1004, January 21, 2000
File 019
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Houston Voice, No. 1004, January 21, 2000 - File 019. 2000-01-21. University of Houston Libraries. University of Houston Digital Library. Web. December 17, 2017. http://digital.lib.uh.edu/collection/montrose/item/1081/show/1070.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

(2000-01-21). Houston Voice, No. 1004, January 21, 2000 - File 019. Montrose Voice. University of Houston Libraries. Retrieved from http://digital.lib.uh.edu/collection/montrose/item/1081/show/1070

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

Houston Voice, No. 1004, January 21, 2000 - File 019, 2000-01-21, Montrose Voice, University of Houston Libraries, accessed December 17, 2017, http://digital.lib.uh.edu/collection/montrose/item/1081/show/1070.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title Houston Voice, No. 1004, January 21, 2000
Contributor
  • Hennie, Matthew A.
Publisher Window Media
Date January 21, 2000
Language English
Subject
  • LGBTQ community
  • LGBTQ people
  • Gay liberation movement
Place
  • Houston, Texas
Genre
  • newspapers
Type
  • Text
Identifier OCLC: 31485329
Rights In Copyright: This item is protected by copyright. Copyright to this resource is held by the creator or current rights holder, and the resource is provided here for educational purposes. It may not be reproduced or distributed in any format without permission of the copyright owner. Users assume full responsibility for any infringement of copyright or related rights.
Note This item was digitized from materials loaned by the Gulf Coast Archive and Museum (GCAM).
Item Description
Title File 019
Transcript OUT ON THE BAYOU JANUARY 21, 2000 • HOUSTON VOICE movement and music >■ Continued from page 15 Handel's oratorio, "l.'Allegro, il Penserosoed il Moderato," a pastoral oratorio in two acts based on allegorical poems by Milton. This work, which translates "The Social Man, The Pensive Man and the Moderate Man," is tailor made for Morris's broad musical and movement sensibilities. Premiered in 19H8 "L'Allegro" was the first work that Morris created while he was dance director at Belgium's leading opera house. When Morris and his company made the move from New York to Belgium, the tiny troupe was transformed from a group of a dozen unpaid dancers to a company with a large budget, and its own studios, costumers, lighting and set designers. Morris knew he had hit the jackpot when the director of the opera house said to him, "Think of the biggest thing you want to do, then do it." Morris had been forming "L'Allegro" in his mind for years; he created many significant works for the Belgians, but "L'Allegro" was his most enduring. f his expansive piece utilizes Milton's text and the poems, written more than UK) years before the accompanying music, illustrate a late renaissance hued view of the universe. Milton's text is a flashback to a time when music, art and architecture were soaring to new heights. "The Social Man" enjoys life with abundance, taking us into fields to witness lovers dancing. "The Pensive Man" depicts a more contemplative sort, one who derives pleasure from solitude. The 25 dancers portray Milton's imaginary characters, not in literal form, but rather in a complex series of movement, all distinctly different in rhythm and tone. Where the musical text speaks of birth, Morris's style reflects an earthy fertility. When quiet moments by the fire are offered, dancers ingeniously intertwine to form a hearth and flame. As if dance and poetry weren't enough for "L'Allegro," Morris allows Handel's bright baroque score to overlay the entire performance. Morns has always utilized musical forms to inspire his dances. "For Morris, the music must precede the very conception of (his) dance," said biographer Joan Acocella, who oddly enough, wrote her work about Morris while he was still in mid-career. While the list of composers he uses ranges from the l?th century to Bob Wills and The Texas Ptavbovs, the masters of the baroque period, 1 landle chief among them, seem best suited to tor Morris. Much of I landel's music was based on dance rhythms popular in the 16th and 17th centuries, which translates well for Morris. The entire voice of the 18th century musical mind is here—sorrow depicted in subtly gives way to the blaring of royal trumpets that are imitative ol I landel's majestic "Royal Fireworks" music. Structure, musical and otherwise, is at the core ot Morris's vision, as he shifts the focus of dance from the ceiling to a more mid-body centered style, rooted on terra firma. While many choreographers seem intent on using dancers as mere building blocks, in "1 Allegro" Morns is guided by musical and poetic messages. Visually he uses the human form to create complex moving patterns rather than static shapes. "l.'Allegro" is one of the most colorful of Morris's works—in addition to its 48 chiffon silk costumes, it utilizes 21 scrims and drops for scenery, offering a visual, musical and balletic feast. I L'Allegro Jan. 27-29 Jones Hall 713-227-4SPA offer—$13 million with earn-out provisions for a maximum price of $32 million. In the deal, Gold and Williams were retained to run the company for five years. Houston Voice interviewed Gold at the Lenox Square Storehouse in Atlanta, which features his slipcovered upholstered furniture in a special concept shop. Success in furniture manufacturing has given Cold and Williams the freedom to live openly as gay men in an industry noted for its staunch family conservatism. It allows them to promote concepts they feel important (their new factory features a day-care center for workers' kids) and to support causes they hold dear (they an' donors to Human Rights Campaign and sponsors of the national gay and lesbian TV newsmagazine "In the Life.") "Ihe Mitchell Cold Co, is our oldest and largest corporate sponsor," said Morgan ild, executive director of "In the Life." "The company has been a corporate underwriter of'In the Lite' since 1997. That support has been vital to our ability to bring positive and affirming images of the gay and lesbian community to television nationally." Special Guest Speaker Reverend Jimmy Creech Rev. Jimmy Creech has been working diligently to change the laws within the United Methodist Church that discriminate against Lesbians/Gays/Bisexual/Transgenders. After performing a same sex holy union ceremony for two men, the Methodist Church Jury found Creech guilty of violating the rules of the church and withdrew his credentials of ordination. Come hear Rev. Jimmy Creech's remarkable story of faith, hope, and renewal; and how his ministries continue. Sunday, February 6, 2000 9am & 11am services All programs are free and open to the community! Resurrection MCC 713-861-9149 1919 Decatur St., Houston, Texas 77007 www. mccr-hou. com Celebrating 25 Jews in the Community Catholic 'Mass Celebrated Saturdays at 7JOpm 1307-H<yak • 713-880-2872 . linwjil linn i mi u»a——iXMItMtv Crad Duren, M.D. Internal medical practice offering discreet confidental care to the community, including HIV/AIDS diagnostics & therapeutics Healthcare from the Heart Anonymous Testing and Counseling Major Credit Cards Accepted • Personal dinks Accepted Insurance wilh Qualification • Medicare m
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