By Peter Brinson

First released in 1991. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Its ideas were expressed principally in painting but with an important influence also on sculpture, literature and some choreography, classical and modern. Two main trends are apparent. One explored the juxtaposition of unlikely objects, symbols, forms rarely related in everyday life. The result produced on canvas dreamlike sensations and fantasies. The other trend was influenced by the discoveries of Freud, entering the hallucinatory world of the subconscious. The logic of both trends derived from dreams, free associations and release from the constraints of the formal world.

4 Lunn, op. cit. I am indebted to Lunn for many ideas in this chapter. 5 Rushdie, Salman: Is Nothing Sacred? Cambridge, Granta 1990, pp. 2, 5. 6 Preston-Dunlop, Valeric, ‘Rudolf Laban—The Making of Modern Dance’, Dance Theatre Journal (London), 1989, pp. 11–16. 7 See Calouste Gulbenkian Foundation, Dance Education and Training inBritain, London, 1980. 8 Jowitt, Deborah: Time and the Dancing Image, New York, William Morrow & Co. , pp. 125ff. , pp. 155ff. 10 Beaumont, Cyril: Complete Book of Ballets, London, 1937, pp.

After all, he is the only choreographer with Eton and the classical Rambert School in his education as well as London Contemporary Dance School. Like Cunningham there is classical ballet in his choreography as well as popular dance styles, all reflected in the training of his dancers, who receive classical as well as Cunningham classes. Therefore Alston does not go along with the more lunatic postmodern concentration on NOW, rejecting even last year’s new choreography. In dance, at least, this kind of approach is not on.

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