Trisha Brown Dance Company
Solo Olos / Son of Gone Fishin’ / Rogues / PRESENT TENSE
© Son of Gone Fishin’ © Stephanie Berger ©
Solo Olos
Choreography for five dancers
With (alternately), Cecily Campbell, Marc Crousillat, Olsi Gjeci, Leah Ives, Tara Lorenzen, Jamie Scott, Stuart Shugg Lighting design, Hillery Makatura
First performance at Brooklyn Academy of Music (New York), 1977
Son of Gone Fishin’
With Cecily Campbell, Olsi Gjeci, Leah Ives, Tara Lorenzen, Jamie Scott, Stuart Shugg
Music, Robert Ashley, Atalanta (Acts of God)
Costume design, Judith Shea
Lighting design, John Torres
With support from The Fan Fox and Leslie R. Samuels Foundation, The Gladys Krieble Delmas Foundation, The Harkness Foundation for Dance, Robert Rauschenberg Foundation, The Shubert Foundation, The National Endowment for the Arts, The New York State Council on the Arts, Governor Andrew Cuomo, the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council // Commissioned by Brooklyn Academy of Music (New York), 1981
Rogues
Choreography for two dancers
With (alternately), Marc Crousillat, Stuart Shugg / Cecily Campbell, Jamie Scott
Assistant choreographer, Carolyn Lucas
Music, Alvin Curran, Toss and Find (extraits)
Costume design, Kaye Voyce
Lighting design, John Torres
With support from New England Foundation for the Arts’ National Dance Project, the Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, Brooklyn Academy of Music, the New York State Council on the Arts, Governor Andrew Cuomo, the New York State Legislature, Harkness Foundation for Dance, The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation and The Gladys Krieble Delmas Foundation, the National Endowment for the Arts, the New York City Department of Cultural Affairs, Rolex Mentor and Protégé Arts Initiative // First performed on 27 October 2011 at the New York Dance Festival
PRESENT TENSE
With Cecily Campbell, Marc Crousillat, Olsi Gjeci, Leah Ives, Tara Lorenzen, Jamie Scott, Stuart Shugg
Music, John Cage, Sonatas and interludes (1960)
Visuals, Elizabeth Murray
Costume design, Elizabeth Murray et Elizabeth Cannon
Lighting design, Jennifer Tipton
In coproduction with Akademie der Künste (Berlin) ; Théâtre National de Chaillot // With support from National Endowment for the Arts, The Charles Engelhard Foundation, TBDC’s generous Individual Donors // Commissioned by the Biennale de la Danse (Cannes), 2003
Artistic direction and choreography, Trisha Brown // Associate artistic directors, Carolyn Lucas, Diane Madden
In partnership with Théâtre National de Chaillot ; Festival d’Automne à Paris
Covering a period from 1976 to 2011, these four pieces form a repertory taking in all the richness of Trisha Brown’s choreographic art - her formal rigour and freedom of invention. A founder member of the Judson Church Theater, at the heart of which she explored the whole spectrum of combinatory elements in dance, Trisha Brown and her company took dance to its most abstract form, stripped of all artifice. In Proscenium Works, which comprises the evening’s programme, we encounter all the hallmarks of her work, ranging from this mixture of suppleness and lightness, to the arial sequences, suffused with a mathematical grace, in which all movement, from the simplest to the most elaborate, from the most mundane to the most virtuoso, finds its way into the overall structure. In the space, the different phrases take shape, fit inside, go in and out of sync, interact and build up collective constellations.
Solos Olos sees the transformation of a solo into a piece for 5 dancers via the multiplication of lines and their resonances. Using supports, lifts, immobility and sudden changes of direction, its sparse nature coincides perfectly with Trisha Brown’s lifelong search for “pure movement”. In Son of gone fishin’, her choreographic writing reaches the “apogee of its complexity”. This group composition, suspended between cloud-like and structure, opens up a whole range of intersections, inversions and ramifications, made possible by its cheerful minimalism. Set to John Cage’s Sonata’s for piano, Present tense uses the interplay between the hold or draw of the ground and vertical tension, resulting in the synthesis of abstract aesthetic and a form of emotional narration, steered in the direction of suggestion and the unexpected. In the short duo Rogues, two dancers embark on a game of hide and seek with unison: avoiding each other’s glance, they follow each other, break away, and finish off each other’s movements - like two shadows or a pair of twins making up their journey as they go along.
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