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Photo © Julieta Cervantes

A tribute to the American choreographer Trisha Brown at the Théâtre de Nîmes

Trois pièces de Trisha Brown seront reprises par les danseurs de sa compagnie en hommage à la chorégraphe disparue en 2017.

Les hommages se succèdent entre Europe et New York, et tout spécialement à la fin du mois, au Théâtre de Nîmes, pour célébrer le premier anniversaire de la disparition de Trisha Brown le 18 mars 2017, à l’âge de 80 ans.

Photo © Andrea Mohin

Review: Trisha Brown Company Is Back, in Witty, Delicate Glory

For a troupe that recently went on what was sometimes billed as a farewell tour, or at least as the end of something, the Trisha Brown Dance Company does not look as if it were going gently into any good night. The program that the group presented at the Joyce Theater on Tuesday is exactly the kind that it was supposed to be phasing out: a repertory sampler in a proscenium theater. Would that all broken promises were so wonderful.

Video: Gia Kourlas

Chilling Out with Trisha Brown

#SpeakingInDance | “Some days there’s more sultriness or more sexiness and on other days there’s a void of that,” @akmettz said of dancing #TrishaBrown’s playful “Groove and Countermove.” “It just keeps shifting, depending on where we are and who I’m doing it with.” Part of @trishabrowncompany’s season at @thejoycetheater beginning next week, "Groove" is set to music by the jazz composer @davedouglas and begins with this soothing stunner of a duet in which Amanda (with the braid) glides seamlessly alongside Leah Morrison. 

Photo © Nathan Bajar for The New York Times

The Persistence of Vision (Trisha Brown’s, That Is)

Less than a year ago, the Trisha Brown Dance Company performed what were to be its final programs of works for the traditional proscenium stage. But that plan didn’t turn out as expected.

The idea was that the company would leave the proscenium stage behind to focus on a new performance model, a series called “Trisha Brown: In Plain Site,” in which the choreographer’s signature works would be reframed by showing them in unconventional sites, often outdoors or in museums.

It was an imaginative way, especially in the financially strained dance world, to keep Ms. Brown’s work alive and in the public eye. And it worked — so well, in fact, that presenters wanted more.

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