Bill T. Jones, структура соло

Jones’s performance of 21 extends this proliferation of movement’s meaning to include larger resonances among discrete movements made possible by narrative. In this piece Jones sequences twenty-one individual poses that derive from many diverse sources.
He first performs them as a single phrase, then he repeats the phrase but assigns to each pose a number. He then reiterates the phrase again, this time identifying a source image for each pose: (i) contraposto, Italian Renaissance, David; (2) Arnold Schwarznegger; (3) Mohammed Alt, I am the greatest; (4) T’ai-Chi Chuan «ward off»; (5) pregnant housewife; (6) antiquity; (7) waiting/Erwartung; (8) male beefcake, tits to the sky; (9) Pelle before; (10) and after; (11) to the groin; (12) nineteenth-century melodrama, «Eek, a mouse!»; (13) Ingmar Bergman, «Oh, my god, I don’t know»; (14) nudist colony; (15) art deco; (16) Pittsburgh Steelers; (17) New York Yankees, the wind-up; (18) Apollo Belvedere; (19) Adam before; (20) and after; and (21) God, too, can go to hell. After he has laid out this set of images, he begins to tell stories from his past while improvising phrases of movement that weave in and out of the poses. These phrases, sometimes depicting aspects of the story he is recounting, take their shape from the familiar poses interspersed throughout, and often both the talking and the dancing converge on these moments.