Trisha Brown Dance Company Noé Soulier
Working Title / For M.G.: The Movie / In the Fall
© In the Fall, Noé Soulier © Delphine Perrin ©
© For M.G.: The Movie, Trisha Brown Dance Company © Steven Pisano ©
© Working Title, Trisha Brown Dance Company © Delphine Perrin ©
In the Fall (2023)
Choreography, Noé Soulier / Music, Florian Hecker / Lighting, Victor Burel and Noé Soulier / Costumes, Kaye Voyce / Performers, Christian Allen, Cecily Campbell, Burr Johnson, Lindsey Jones, Catherine Kirk, Patrick Needham, Jennifer Payán, Spencer Weidie
Working Title (1985)
Choreography, Trisha Brown / Music, Peter Zummo, excerpts from Six Songs (Sci-Fi, Slow Heart, Song VI, Song IV) / Performed by The Peter Zummo Orchestra Mustafa Khaliq Ahmed (percussion), Guy Klucevsek (accordion), Dave Phillips (bass), Bill Ruyle (marimba and table), Peter Zummo (trombone) / Costumes, Elizabeth Cannon / Lighting, Beverly Emmons
For M.G.: The Movie (1991)
Choreography, Trisha Brown / Music, Alvin Curran / Costumes and sets, Trisha Brown / Lighting, Spencer Brown with Trisha Brown
Performers, Christian Allen, Cecily Campbell, Burr Johnson, Lindsey Jones, Catherine Kirk, Patrick Needham , Jennifer Payán, Spencer Weidie
Associate Artistic Director, Carolyn Lucas / Delegate Producer, Ile-de-France tour Festival d'Automne à Paris
Trisha Brown - For M.G.: The Movie / Commissioned by Festival d'Automne à Paris ; TANDEM Scène nationale (Douai-Arras) ; Illinois Theatre Consortium : Dance Center Columbia College Chicago ; Southern Illinois University at Edwardsville ; Northern Illinois University and Millikin University / Avec le soutien de The Jacob's Pillow Dance Festival ; The Lila Wallace-Reader's Digest Fund ; The Andrew W. Mellon Foundation ; The AT&T Foundation ; The National Endowment for the Arts ; The New York State Council on the Arts / La musique de For M.G. : The Movie est une commande de la Trisha Brown Dance Company, avec le soutien de The Mary Flagler Cary Charitable Trust
Trisha Brown - Working Title / Première mondiale Minzhu Wenhua Gong Theater, Beijing, Chine le 17 novembre 1985. Working Title est à l'origine de Lateral Pass, commande du Walker Art Center, avec le soutien de The National Endowment for the Arts ; The Northwest Area Foundation ; The Emma Shaefer Charitable Trust ; The Bohen Foundation ; The New York State Council on the Arts.
Noé Soulier - In the Fall / Commande de la Trisha Brown Dance Company / Coproduction Cndc d'Angers ; Festival d'Automne à Paris ; Maison des Arts de Créteil ; Dance Reflections by Van Cleef & Arpels ; La Villa Albertine
Co-produced by Maison des Arts de Créteil; Festival d'Automne
With the support of Dance Reflections by Van Cleef & Arpels
In a celebration of Trisha Brown’s rich body of work, her company presents two pieces which are a statement of the variety of questions and motifs explored through her dance. This creation by the choreographer Noé Soulier for the company’s performers prolongs this journey – bridging the gap between living archive and present gestures.
Since Trisha Brown passed away in 2017, her company, directed by Carolyn Lucas continues to bring alive and pass on her heritage via a wide-ranging repertory. From her early forays into the realms of American post-modern dance up to her large-scale works for the Opera, Trisha Brown redefined in a profound way the landscape of choreographic creation through her fluid approach to movement. In order to celebrate the links set up between the choreographer and France, the Trish Brown Dance Company presents two pieces which bear witness to this fertile relationship: For MG: the movie, a piece tainted with melancholy, dedicated to the memory of Michel Guy, the Festival d’Automne’s founder; and Working title, which draws upon unexpected, asymmetric motifs and confronts bodies subject to gravity with the figure of a weightless body. Noé Soulier’s commission echoes the radiance of this work today. For him, the ‘Brownian-movement’ outmanoeuvres the geometric paradigm of modern dance and necessitates a deep-seated decentring of physical points of reference. By entering into dialogue with the work of Trisha Brown, he seeks to experience the living archive in existence within the company’s performers but also to confront them with the impulse of his own choreographic principles.