The Trisha Brown Dance Company branches out beyond its founder’s work with its first commission: Judith Sánchez Ruíz’s “Let’s Talk About Bleeding.”
Trisha Brown Dance Company commissioned TBDC alum Judith Sánches Ruíz to make a new work on the company. "Let's Talk About Bleeding," will premiere at the Joyce Theater in in the spring of 2023. This is the first time a work by a choreographer other than Trisha Brown will be presented by the company.
This year, the Beach Sessions at Rockaway Beach features the Trisha Brown Dance Company in a program of early works.
The dancers were sinking. Even the softest of waves were too much for their feet — strong as they were — to hold their own in the soggy late afternoon sand at Rockaway Beach.
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In a delayed celebration of its 50th anniversary, the Brown company presented two dazzling works she made with Robert Rauschenberg.
The “In Plain Site” program, delayed two days by stormy weather, was worth the wait.
As part of a digital program presented by the Joyce, the Trisha Brown Dance Company focuses on early movement invention.
The world's largest dance archive just keeps growing. Over the summer, the New York Public Library for the Performing Arts' Jerome Robbins Dance Division began welcoming two new collections to its illustrious archive. The legacies of Martha Graham and Trisha Brown will be safely housed at NYPL's Lincoln Center campus, featuring rarely seen treasure troves of papers, photographs and moving images.
Trisha Brown—one of the most influential choreographers and dancers of her time—spent her formative years in the small town of Aberdeen, Washington, bordered on the west by the Pacific Ocean and on the north by the Olympic National Forest. The forest spans nearly a million acres and is one of the most diverse ecosystems in the United States, including the largest remaining stands of old-growth trees. The scale and various topographies of that landscape deeply moved and activated Brown’s creative imagination.
The New York Public Library has acquired Brown’s archive, including 1,200 videotapes that provide an invaluable record of her creative process.
In a video recorded in 1989, the choreographer Trisha Brown demonstrates a few restless seconds of movement, as dancers in her studio try to follow along. An arm darts across the torso; the legs appear to slip and catch themselves. It happens fast. As the dancers attempt to do as she does, a viewer can imagine how useful the video would be for anyone learning this material. There’s no easy way to explain what she’s doing; you just have to keep watching.
The crowd is the first thing I notice in the Trisha Brown Dance Company’s 2016 performance of “Figure Eights” as part of a performance at Seattle Art Museum. The audience clusters behind the row of six dancers, who are all dressed in casual white shirts and loose, white pants. The audience claps and takes pictures, sits stage-side, heads in their hands, on their phones.