ABSTRACT
Michael Clark has attracted considerable attention since the early 1980s, and for a number of reasons. Most obviously, his anarchic blend of technically proficient dance performance with incongruous, often subversive use of costumes, props, music, and thematic material has provoked responses of delight and disapproval in varying measure. His popularity (and notoriety) over a period of years has given him a status in the dance world and beyond that has allowed him to pursue, develop, and refine his interests in a number of contexts.
