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Frederick Charles "Freddie" Herko (February 23, 1936 – October 27, 1964) was an artist, musician, actor, dancer, choreographer and teacher. ==Biography== Herko studied piano at the Juilliard School and classical ballet under Valentina Pereyaslavec at the American Ballet Theater School. He took additional dance classes with Merce Cunningham and James Waring. In the late 1950s he was a regular member of James Waring's dance company and also danced with Katherine Litz and Aileen Passloff. He was a member of the Judson Dance Theater, contributing two pieces to the group's inaugural concert on July 6, 1962. He performed in Frank O'Hara’s ''Love's Labor'' and several of Andy Warhol’s earliest films including: ''Haircut (No. 1)'', ''Kiss'', ''The Thirteen Most Beautiful Boys'', and ''Rollerskate'' (also known as ''Dance Movie''). Herko was associated with a group of habitués to Warhol’s Silver Factory on 47th Street including Ondine, Rotten Rita, and Billy Name. Nicknamed “mole people” on account of their intensive speed usage and subterranean habits — “mole because they were known to be tunneling towards some greater insanity that no one but this inner circle was aware of” — members of this group performed their manias and drug routines in a life/art blurring spectacle in crash pads and stages throughout the city. They are best remembered for their roles in many of Warhol's experimental films. Herko was a close friend of Diane di Prima, who writes of him in her biography ''Recollections of my Life as a Woman''. She met him in 1954 as he sat on a bench in the rain in Washington Square Park. He was “crying because autumn always made him sad.” Later he would tell Diane that, “He needed speed to push his body so he could dance the way he wanted to. He felt otherwise he didn’t have a chance; he had come to dancing too late in life to make it work for him.” Di Prima describes Herko’s elegiac performance ''For Sergio:'' “He arrived in black tights and a leotard, with a fierce archaic face mask painted on his face, and whispered to us to kill all the lights: house lights, stage lights, everything. I noticed he was in toe shoes. Then I stood silent, in awe of what was about to happen — something sacred and diabolical all at once. Freddie had an antique wall sconce with a mirror, the kind that used to hold a candle, and he lit the taper he had placed in it. And in that dark and suddenly silent theatre with his back to the audience, he began laboriously and slowly to go down one side aisle of the theatre, across the front below the proscenium, and up the other side. En pointe. The only music was the sound of his deliberately exaggerated and labored breathing. And the slow scraping of his toe shoes on the rough floor. The light, the flickering light of the candle reflected his painted face in the mirror in his hand ... He was gone again before any of us could move.” 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fred Herko」の詳細全文を読む スポンサード リンク
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