agitated / theme

One who is agitated is moved or shaken, as if he or she had been thrown into a top-loading washing machine for a spin cycle or two. Agitation amounts to a disturbance, either personal or public, and occasionally both. To agitate is to upset, as for example an applecart, often in an attempt to effect change. But note that the agitated are the passive subjects, those who are thus moved and changed.

Themes represent basic categories of thought, emotion, or value. While our assignment of themes may at times seem arbitrary or whimsical, they serve to link together artists and movements along non- hierarchial pathways. Follow the themes to look for new disciplines that share qualities with those you already like, or to open up new worlds of Art and Culture.

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Bill T. Jones' Chapel/Chapter

Bill T. Jones finds strength from real-life tragedies By Valerie Gladstone, Globe Correspondent | February 8, 2008 "How do we live with the disturbing and incomprehensible news items we encounter every d The choreographer Bill T. Jones asks this question in a recent phone conversation, recalling Company gives its Boston premiere Wednesday through Feb. 16 at the Institute of Contemp "I thought how most of us are never fully able to express our horror at the barrage of terrible For "Chapel/Chapter," Jones draws upon three real-life tragedies: the random murder of a f committing suicide. That last story hit particularly close to home: It happened to one of his company's dancers, naturally to Scott to tell him of the traumatic childhood event. "I sent Bill an e-mail," Scott says, "because I'm better at writing than talking. There was som happened is that a friend at camp and I went for a walk early one morning and without sayin family problems - but still. I was there. I witnessed his suicide. I'm not sure I even have the e "Quite a bit after I sent that e-mail," Scott continues, "Bill brought it up in a rehearsal and as complicity. And although it's not explicit, also on redemption. To go over my story again and In a recent phone conversation about the piece, Jones launches into a discussion of nothin political or ethical statement," he says. "I simply want to look at our moral paralysis. I don't h fantasies and secretiveness. We all bear witness. 'Nothing human is foreign to me,' " as the Exploring sensitive and timely subjects has become a modus operandi for Jones, now 56. A choreographed some of the most profound and thrilling pieces of our time, taking on racism and AIDS in "Still Here," and patriotism in "Blind Date." But he can be lyrical as well, in such Broadway hit "Spring Awakening." Over the course of the 70-minute "Chapel/Chapter," the three stories are repeated, rearrang taken from court transcripts, newspaper articles, and jailhouse interviews. Bringing all these operatic stature. Throughout his career, Jones has closely collaborated with dancers, composers, writers, an exercises to engage my dancers," he says. "This time, I asked them to spell out phrases wi seemed like a lighthearted game but it was actually deadly serious. Slowly they developed a Because of the subject matter of "Chapel/Chapter," Jones wanted to establish a religious to choreographer at New York's Aaron Davis Hall, he presented the work for the first time in D Gatehouse, once a pumping station for New York City water. A more hallowed atmosphere courtroom and a sacred place," he said. "The Gatehouse turned out to be perfect." For more than 15 years, Jones has called on his partner, the sculptor Bjorn Amelan, for ma effective. The stage resembles a basketball court, divided into 10 gray squares with a semic same red fabric that covered the walls floor to ceiling. "We had no idea then," Amelan says, "that the piece would have a life after the Gatehouse. then. In Boston, we can't duplicate the original concept but we will drape the sides of the sta chapel, with a nave and altar." Janet Wong, the company's associate choreographer and videographer, originally added to In Boston, they will be projected on the stage's back wall. "I didn't want the audience to be d the movement. The theater will still be covered as much as possible with red fabric. I can te A smile in his voice, Jones says, "They get into the spirit with me - Bjorn, Janet, the lighting "It makes me bolder, more honest," he continues. "A good leader knows he doesn't have al being a group having ongoing discourses with our audiences, but that's where we are now." © Copyright 2008 The New York Times Company


Filmography: The Young Prince - 2007 Infunde Lumen Cordibus- 2003 The Book of Praise (cycle of films) Eros and Wonder Crack ,Brutal, Grief - 2001 A Man Whose Life Was Full of Woe Has Been Surprised by Joy - 1997 The Book of All the Dead (cycle of films) Exultations: In Light of the Great Giving Part 6: Et Resurrectus Est- 1994 Exultations: In Light of the Great Giving Part 5: Burying the Dead: Into the Light-1993 Exultations: In Light of the Great Giving Part 4: Exultations: In Light of the Great Giving-1993 Exultations: In Light of the Great Giving Part 3: Azure Serene: Mountains, Rivers, Sea and Sky-1992 Exultations: In Light of the Great Giving Part 2: Newton and Me- 1990 (co-cinematographer Alexa-Frances Shaw) Exultations: In Light of the Great Giving Part 1: Flesh Angels- 1990 Consolations (Love Is an Art of Time) Part 3: The Body and the World-1988 Consolations (Love Is an Art of Time) Part 2: The Lighted Clearing- 1988 Consolations (Love Is an Art of Time) Part1: The Fugitive Gods- 1988 Lamentations: A Monument to the Dead World Part 2: The Sublime Calculation-1985 (co-cinematographer Stephen Smith) Lamentations: A Monument to the Dead World Part 1: The Dream of the Last Historian-1985 (co-cinematographer Stephen Smith) Illuminated Texts- 1982 (editor Anna Patamow ) "1857" (Fool's Gold) - 1981 Trace- 1980 Sweet Love Remembered-1980 The Art of Worldly Wisdom- 1979 Look! We Have Come Through!- 1978 Unremitting Tenderness- 1977 She Is Away- 1976 Permutations and Combinations- 1976 Barbara Is a Vision of Loveliness- 1976 Breath/Light/Birth- 1975