![]() She explored the classical world in Push Comes to Shove, for the American Ballet Theater and the celebrated Russian virtuoso Mikhail Baryshnikov. She thrilled a new audience with her witty version of jazz in Eight Jelly Rolls, then merged her dancers with the Joffrey Ballet for the sensational Deuce Coupe, to the music of the Beach Boys. The same is true for all theatrical dance making, all over the world, only most of it isn't so inspired or obsessed." Starting in the rebellious 1960s, Tharp tried her creative wings on minimalism, pedestrianism, and Dada, then abandoned both the avant-garde and the established modern dance. It's the most subtle form of competition and cooperation, a process so intuitive, so intimate, that no one can say whose dance it is in the end, and none of the parties to that dance can be removed without endangering its identity. Brave, virtuosic, and cheerful, they volley back what she gives them and more. Crusty, driven, demanding, and admiring, she hurls challenges at the dancers. ![]() ![]() She doesn't so much invent or create it, she prepares for it. At the conclusion of Howling Near Heaven, Marcia Siegel writes about the thrill of watching Tharp choreograph in 1991: "Tharp's movement can be planned or spontaneous, personal, funny, hard as hell, precise enough to look thrown away. ![]()
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