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Rudy Perez

October 8, 1988
Reading about the new partnership between Joffrey Ballet (based in New York and Los Angeles) and Cal State L.A. made me realize that even here art is about politics ("Joffrey and Cal State L.A.--Both to Benefit?" by Lewis Segal, Sept. 27). In the 10 years since I relocated from New York City, I see less and less support and opportunity for the Los Angeles dance companies. It never ceases to amaze me how the arts organizations and institutions continually look toward New York for their glory.
April 11, 1991 | FRANK MESSINA
Fast food joints come and go, but it is only the best and most venerable of neighborhood eateries whose food loses its generic identity and becomes known by the name of the restaurant. And in La Habra, a burrito is not a burrito, it is a "Rudy's." Over the past 35 years, owner Rudy Perez has changed the location of Rudy's Mexicatessen five times.
Onstage at an intimate new studio theater in Culver City, choreographer Francisco Martinez is showing an audience the building blocks of a one-act suite called "Places." By having his six-member cast run through major transitions, Martinez clarifies structural components--the way new arrangements of chairs define changing interpersonal relationships.
November 24, 2003 | Victoria Looseleaf, Special to The Times
Time may stop for no man, but it seems to have slowed for veteran choreographer Rudy Perez. Celebrating a quarter-century of dance making in Los Angeles (a co-founder of New York's Judson Theater Dance Workshop, his career spans five decades), Perez still commands attention with his acute insight into bodies moving through space.
December 8, 2008 | Victoria Looseleaf, Looseleaf is a freelancer writer.
Celebrating three decades of making dance in Los Angeles, postmodern master Rudy Perez, who recently turned 79, refuses to rest on his laurels. One of the co-founders of New York's experimental Judson Dance Theatre, a coterie of artists who would define boundary-breaking "downtown" aesthetics in 1962, Perez continues to chart an unwavering course where pedestrian moves transcend the mundane to reveal bold, deep ideas. Proof is visible in Perez's latest work, "Surrender, Dorothy!
September 14, 1987 | LEWIS SEGAL, Dance Writer
Rudy Perez remarked in these pages last week that his program for the Los Angeles Festival would represent a summing up of his achievements as a choreographer--and he was right. But, except for a revival of his classic postmodern solo "Countdown" (1965), Perez presented only new works at the Tom Bradley Theatre of the Los Angeles Theatre Center on Saturday.
June 23, 1986 | LEWIS SEGAL, Times Dance Writer
Immediately following the premiere of his "Cold Sweat" Friday in the Margo Albert Theater at the Plaza de la Raza, Rudy Perez spoke to the audience, explaining how his intention to choreograph a romantic work for his six-member company had been changed by ominous recent events. "I watch the news," he said, "and what's happening in the world is kind of scary. . . ."
September 10, 1987 | DONNA PERLMUTTER
Rudy Perez, who started the postmodern ball rolling in Los Angeles when he relocated here a decade ago, has recently gotten more than he bargained for: A full-page ad with his name emblazoned next to those of Merce Cunningham, John Cage, Ingmar Bergman and Peter Brook: Is that any way for a struggling choreographer and performance artist to be treated by Los Angeles Festival organizers? Needless to say, he's hardly complaining.
Confused about the new masculinity? Get in line. Some 15 choreographers in two Southland venues showcased male expression over the weekend and only occasionally agreed about who or what a man might be. For "Men of Distinction" in the Keck Theater at Occidental College on Friday, senior dancers sat back and reminisced in pieces high in concept but generally limited in dance action.
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