Trisha Brown
Trisha Brown Dance Company/2 programmes
© Astral Convertible © Samantha Siegel 2012 ©
© Foray Foret © Julieta Cervantes 2011 ©
© Photo © 2010 Julieta Cervantes ©
Programme A
For M.G.: The Movie (1991)
Choreography, scenography and costumes, Trisha Brown
Music, Alvin Curran (One Step Too”)
Light, Spencer Brown avec Trisha Brown
Premiered at Hippodrome de Douai the 8 of February 1991
Homemade (1966)
Film by Babette Mangolte inspired by the original film of Trisha Brown and Robert Whitman
Scenography, Trisha Brown et Robert Whitman
Costumes, Kaye Voyce
Dancer, Vicky Shick
Premiered at Judson Memorial Church, New York, the 29 of March 1966
Newark (Niweweorce) (1987)
Choreography, Trisha Brown
Scenography and Sound concept, Donald Judd
Orchestration and realisation, Peter Zummo avec Donald Judd
Light, Ken Tabachnick
Trisha Brown Dance Company thanks Opéra de Lyon for the lending of Newark backcloth (Niweweorce).
Premiered at Nouveau Théâtre d’Angers the 10 of June 1987, commissioned by CNDC d’Angers
Programme B
Foray Forêt (1990)
Choreography, Trisha Brown
Musicof a local brass band
Scenography and costumes, Robert Rauschenberg
Light, Spencer Brown with Robert Rauschenberg
Premiered at TNP, Lyon the 22 of Septembre 1990, commissioned by la Biennale de Lyon
If you couldn’t see me (1994)
Choreography, Trisha Brown
Music, costume and scenography, Robert Rauschenberg
Light, Spencer Brown avec Robert Rauschenberg
Commissioned by Festival de danse de Châteauvallon the 1 of July 1994
Astral Convertible (1989)
Choreography, Trisha Brown
Scenography, costumes, Robert Rauschenberg
Music, John Cage Eight
Light, Ken Tabachnick
Commissioned by Montpellier, Cours Jacques Coeur, the 22 of June 1989, commissioned by Festival Montpellier Danse
Trisha Brown Dance Company
Founding of the Company and choreographer, Trisha Brown
Associated Artistic Directors, Carolyn Lucas et Diane Madden // Neal Beasley, Cecily Campbell, Tara Lorenzen, Megan Madorin, Tamara Riewe, Vicky Schick, Jamie Scott, Stuart Scott, Stuart Shugg, Nicholas Strafaccia, Samuel Wentz, novice Eric Williams
Corealisation Théâtre de la Ville-Paris ; Festival d’Automne à Paris
Partnership with France Inter
Revisiting the art of Trisha Brown, who decided to end her career in 2012, this program focuses on the second chapter of her work – pieces for the stage, using sets and music. Whether they question memory (as in For MG: the Movie) or gender relations (as in Newark), her pieces probe the possibilities and limits of her medium, creating connections
with visual arts.
In the same place
Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5 Il Cimento dell’Armonia e dell’Inventione
In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.
Rabih Mroué Who’s Afraid of Representation?
We find ourselves in the company of major figures of European Body Art (Joseph Beuys, Orlan, Marina Abramović, to name a few) via their accounts of exhibitions and public scarifications dating back to the 1970s. In parallel with this runs the true story of a killing spree carried out by a Lebanese office at his workplace, and the fluctuating motivations for his acts.
Lola Arias Los días afuera
At the crossroads between musical and documentary, Lola Arias brings us a choral composition in which six female former inmates talk about their lives during and after incarceration. Their six intertwining destinies raise questions about the various forms of violence present in contemporary society, whilst exploring the margins of fiction and reality at the same time.
Robert Wilson PESSOA – Since I've been me
The hero of this new work by Robert Wilson is Fernando Pessoa. And a paradoxical hero at that. The Portuguese poet spent his life 'multiplying himself', inventing heteronyms, or fictitious authors, to whom he attributed works he himself wrote. He even went as far as to invent relationships, either amicable ones or from master to disciple, between his different avatars.
Jan Martens VOICE NOISE
In this breakthrough piece for Jan Martens, VOICE NOISE brings together six dancers to shape a soundscape comprising some of the great female performers and composers of our time. In his own pop-inspired and precise way, the choreographer questions a very contemporary story, and in doing so raises the question of how some of these voices were silenced.