January 13 - 17, 2020
Eden's Expressway
537 Broadway, New York, NY 10012
WINTER INTENSIVE REGISTRATION FORM
For additional questions please email Stacy Spence, Director of Education, at education@trishabrowncompany.org.
The Fairmount Park Conservancy presents three free works with the groundbreaking Trisha Brown Dance Company that will change the way you think about Philadelphia’s favorite outdoor spaces.
In Roof Piece (1971), the rooftops of iconic cultural institutions around Logan Circle serve as an expansive stage for 360-degree choreography. The newly reopened Strawberry Mansion Reservoir at the Discovery Center becomes a stage in Raft Piece (1973). In Foray Forêt (1990) the wooded grounds of Mount Pleasant mansion host dancers in golden costumes designed by artist Robert Rauschenberg. Together, these works invite Philadelphians to experience their park in a whole new way, leaving us inspired by motion, and by place.
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In Motion, In Place has been supported by The Pew Center for Arts & Heritage.
TBDC performs If you couldn’t see me (1994) part of the New Victory Theater’s Victory Dance series, which provides free dance education and performances for students attending summer enrichment programs at NYC public schools.
On May 29 in Brussels, La Monnaie Symphony Orchestra conducted by Alain Altinoglu, will premiere Bernard Foccroulle’s Climbing-Dancing, which the composer has titled a Concerto for Cello and Orchestra 'for Trisha'.
As the former director of the Théâtre Royal de la Monnaie in Brussels and the Aix-en-Provence Festival, Foccroulle worked with Trisha Brown on numerous occasions, and was instrumental in encouraging her to choreograph and direct for opera, including selecting her to direct a 1998 production of Monteverdi’s L’Orfeo at La Monnaie.
Climbing-Dancing was commissioned by La Monnaie, and will be performed on a program also featuring Beethoven’s Seventh and Eighth symphonies. Speaking of his tribute composition, Foccroulle says, "May this piece help keep the memory of a great artist and her work alive – a living memory we need to cling to now more than ever."
Jupiter Artland’s summer exhibition is dedicated to the work of choreographer and artist Trisha Brown (1936 – 2017), whose enduring legacy continues to be a source of joy and fascination for the generation of artists who followed in her footsteps. Her 40-year plus career was characterized by sensuousness, analytical structure and a feeling akin to flying.
This presentation across Jupiter Artland’s gallery spaces focuses on Brown’s moving-image archive, traversing Brown’s early practice, placing her highly organised Accumulation dances in relation to the physical abandon she displays in Watermotor (1978), a work Brown described as ‘unpredictable, personal, articulate, dense, changeful, wild assed.’
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Friday August 9 - Sunday August 11, 2019
Part of Edinburgh International Festival
TBDC dancers will perform specially chosen excerpts from the Trisha Brown repertory set in dynamic relation to the Jupiter Artland landscape. Audiences will be engaged in an intimate, up-close experience of Brown’s choreography on floating rafts in Charles Jencks’ lakes, in the rich woodlands and sculpted landforms of Jupiter Artland.
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This engagement is supported by Mid Atlantic Arts Foundation through US Artists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation.
The Stanislavsky Ballet performs O złożony / O composite (2004), Trisha Brown's only proscenium ballet. TBDC alumnus Todd Stone along with current company member Kimberly Fulmer will lead the restaging project.
A 13-week-intensive programme (April 1 - June 30, 2019) with daily training sessions to develop awareness of the body and to study the contemporary techniques and repertory of Trisha Brown, focusing specifically on the production of the project Set and Reset/Reset with TBDC current company members Amanda Kmett' Pendry, Cecily Campbell, Marc Crousillat, and Leah Ives.
The Set and Reset/Reset project will be presented to the public at the 13th International Festival of Contemporary Dance of La Biennale di Venezia.
The Archivists Round Table (ART) is presents “Archiving the Gesture” an expanded lecture demonstration exploring evolving practices around the archiving and transmission of the artistic works of acclaimed choreographer and dancer Trisha Brown, co-presented with the Trisha Brown Archive, in collaboration with former Archive Director and company member Cori Olinghouse, and former company member Shelley Senter.
Current TBDC archivists Anne Boissonnault and Benjamin Houtman will conclude with a discussion exploring the tensions that arise between Brown’s interdisciplinary, ephemeral, and process-driven body of work, and the archival processes that aim to preserve it.
The event will take place at Trisha Brown’s former studio in Soho and will be followed with a wine reception. Seating is limited and advance registration is recommended. Click here for more info or to register.
Wednesday, February 27, 2019 6:00pm - 8:00pm
December 17, 2018 – January 16, 2019
The Museum of Modern Art, New York
From her solo and duet performances at Judson Memorial Church to the ensemble choreographies she made upon founding her own company in 1970, Trisha Brown’s (American, 1936–2017) half-century-long career was characterized by sensuousness, analytical structure, and a feeling akin to flying.
For this presentation, documentation of her work is organized into an installation designed by artist Charles Atlas in collaboration with Cori Olinghouse, the former archive director of Trisha Brown Dance Company and director of The Portal Project. The installation focuses on the period from Brown’s 1966 HOMEMADE—in which she straps a projector onto her back, throwing a film onto the wall, floor, and ceiling in synchronization with her live performance—to a demonstration of phrase material from her 1979 GLACIAL DECOY, her first of several large-scale theatrical works. Moving images featured prominently in Brown’s work; she used video as a preparatory tool for her choreography and collaborated with filmmakers such as Babette Mangolte, Elaine Summers, Robert Whitman, and Jud Yalkut. The installation traverses Brown’s early practice, placing her highly organized “Accumulation” dances—in which simple gestures accrue through repeated iterations—in relation to the physical abandon she displays in WATER MOTOR (1978), a work Brown described as “unpredictable, personal, articulate, dense, changeful, wild assed.”