In anticipation of MMDG's upcoming Harris Theater performances, February 25-27, we invite you to read the Socrates libretto and encourage you to explore the additional materials provided below.
Interview: Mark Morris
By Nancy Dalva (Courtesy Brooklyn Academy of Music's BAMBill)
Nancy Dalva: So… why Socrates? Mark Morris: Here’s what happened with Socrates, as I call it. (We use the English title, because it’s kind of nicer.) Many years ago, I choreographed—for six men in my company—just the last movement of Erik Satie’s Socrate, which is the Death of Socrates. And I couldn’t afford the score.
Read the entire interview
The New York Times, Alastair Macaulay, “Cheekily Defying Expectations”
The choreographer Mark Morris works hard, well and successfully to elude categorization throughout his triple bill at the Brooklyn Academy of Music. By stretching his range, he also stretches our ideas of what dance theater can be and do.
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The Wall Street Journal, Robert Greskovic; “Not A Member of the Club” The new "Socrates" marks the first time that the MMDG is using supertitles. Mr. Morris's aim is to tell the story given in the music's text, as well as to give the score's rhythms: "It's about Plato's relationship to Socrates. It's not the story of Socrates. It's about how Socrates affected the people that he was jailed for influencing, and it's barely that; it's also a beautiful dance." Read Entire Article
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