Thanks, Lynette, for the link to the Stravinsky database. Who knew there had been that many Apollos and Agons. I was especially intrigued by Yvonne Rainer's Agon version at Dance Theater Workshop in 2006--which sounds like wonderful Judson nonsense.
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A re-vision of Balanchine's Agon, using his choreography with Rainer interventions. Three of the performers were modern dancers, Coates ex-New York City Ballet. The final Pas-de-quatre was danced to Henry Mancini's 'Pink Panther.'
A bit of whitelight's review from here on Ballet talk:
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What's amazing is that shining through all the distortion, there's a whole lot of Agon still there. The pas de deux, in which ballerina Emily Coates is partnered by the three older, downtown, female choreographers, really is recognizably Balanchine the whole way. Her distortions were so witty! For example, instead of having the partner drop dramatically from a lunge to the floor, Coates just switches partners (one was lunging, the other takes her hand only after she is on her back). It's much less difficult technically, but the spirit of suspense and virtuosity is still there-- Perhaps after her legacy of being anti-virtuosity, Rainer is now making her commentary from the other side: even easy movement is virtuosity! Either way, it nudges the audience to consider "ordinary" movement and "dance" movement from a new perspective. And it's a tight little piece.