The Bigger Picture...

Paul Taylor has seen, experienced, and still living through monumental moments in our country’s history.  Being born during the Great Depression, in college during World War II, then through the sock hop days of the 50s, through the big protest in the 60s, and the rock music of the 70s and 80s.  Experiencing these events throughout his life, Taylor clearly has used them as resources for his work in choreography.  These real-life connections of his background create who he is as an artist and allow for endless amounts of inspiration to shape his choreography.

            Growing up in the 1930s Taylor led a very “lonely” childhood, seeming to always be separated from his parents.  This idea of seclusion loneliness may be due to the hardships of the Great Depression.  This statement made by Taylor describes the impact his hard childhood has made on his artistic voice:

           
 “From childhood on, I’ve been a reticent guy who spends a lot of time alone. I make dances in an effort to communicate to people. A visual medium can be more effective than words. I make dances because I don’t always trust my own words or, for that matter, those of quite a few others I’ve known. I make dances because working with my dancers and other cohorts allows me to spend time with trustworthy people I’m very fond of and who seldom give me trouble.”

           
Having directly come from the era of the Great Depression it is the most likely reason for his creation of Black Tuesday, a piece based on society during the great depression.  His connection to the actual event creates a stronger interpretation that can be expressed through movement. 

            Of course in the 1940s the country’s focus was directed towards the hardships and struggles of World War II.  Taylor’s college years were experienced in this dark period of world history.  Throughout his years creating movement and works, there has been a strong emphasis on war and hardship.  One such piece that directly illustrates this “turbulent era” is Company B, which debuted in 1991.  This work combines the hope and high spirits of a young nation, with the tremendous loss the families were suffering when their soldiers were not returning home to their arms.   

 Another influential era Taylor experienced was the rebellious years of the 1960s.  It was during this time that people began embracing liberation, defying authority, experimenting with drugs, and experiencing free love.  This idea of controversy and freedom can be seen in many ways of Taylor’s work.  In some pieces such as Changes, and Field of Grass he directly creates a focus on society in the 1960s and how they experimented with this new lifestyle of love and peace.  But controversy is also a huge part of Paul Taylor’s work.  Since the 1950s, Taylor has been labeled by Martha Graham as the “naughty boy of dance.”  His obsession with controversy and raising eyebrows can best be describe in his own words: 

           
 “Whenever a dance of mine is controversial it brings me much satisfaction. One of my aims is to present questions rather than answers. My passion for dance does not prevent me from being terrified to start each new piece, but I value these fears for the extra energy they bring.” 
 

            One of the greatest tragedies our country has suffered, that even I have experienced, was the attack on the World Trade Center and Pentagon on September 11, 2001.  The emotional impact on our country was so great it was hard to not feel connected to the epic loss our nation experienced.  Paul Taylor is an artist that put these emotions to movement in Promethean Fire, debuting in 2002.  In this piece he emphasizes the impact of destruction and the need for renewal of the spirit during a cataclysmic event that is suffered.  This piece is said to be one of Taylor’s best and most powerful works.