Sergei Diaghilev, the Great Russian impresario, is responsible for the commissioning of avant-garde musical artists into creating designs stage and costumes. He first settled in France where he formed a dance company called ‘Ballet Russe de Monte Carlo’ (Carter 17). His ballet dance is presented as one of the initial moves that avant-garde composers, writers, and painters join forces in creating a ballet.
The revelation in this case is that Cunningham is both a great collaborator and a terrific partner in dancing. Further, the collaborative process continues changing as he ages and the physical limitations hit in (Carter 34). Other than originating their choreography through living and breathing dancers, they formulate dances through the manipulation of onscreen and computer-generated individuals. Many audiences feel that such a retreat across the direct involvement adds a level of difficulty to Cunninghams ballet collaborative process. In the original Rite of Spring by Nijinsky, the primary emphasis of the classical ballet dancer is on aspects of legwork even as there is simultaneous maintenance of upright carriage. For Cunningham’s Camera Beachbirds, the aspect begins presenting how Cunningham is utilizing elements regarding the expressive and the classical. Cunningham broadens this scope of expressive upper body of the dancer while integrating the motions with the footwork for classical ballet dancers. In Rite of Spring by Tero Saarinen, a number of dancers are within their initial studio areas as they turn or jump in place. Subsequent dancers run in alternate directions based on the stationary dancers while running and skipping across studio space (Carter 23). Within a number of specified points, there are elements of dancing looking similar to the previous pirouettes. In other of his pieces, Cunningham’s dancers develop extensive lateral movements that cover major areas for stage space as they both walk and run. Cunningham also