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A tribute to Trisha Brown, 9.–10. March 2018

A tribute to Trisha Brown,
9.–10. March 2018

Spilles: Fri 09. Mar 2018 Sat 10. Mar

Dansens Hus proudly presents five of Trisha Brown´s most significant choreographies.

Trisha Brown (1936 - 2017) is regarded as one of the most influencial choreographers in USA. Her work has had significance all over the world. This programme consists of works from 1971 to 2009, and offers a unike possibility to take a closer look at  Trisha Brown´s production over a long periode of time.  

L’Amour au théâtre (2009) is inspired by the pre-classic dance forms inherent in Jean-Phillipe Rameau’s Hippolyte et Aricie.  Elegant couplings and constantly shifting aerial architecture create endless patterns that quickly develop and disperse.  With Brown’s signature articulation of the limbs, the dancers anchor each other’s flight while abstracting imagery from the French libretto, which Brown hails as “right up her tree.”

Choreography: Trisha Brown
Music: Excerpts from Jean-Philippe Rameau's Hippolyte et Aricie recorded by William Christie and Les Arts Florissants for Erato
Set Design: Trisha Brown
Costumes: Elizabeth Cannon
Lighting design: Jennifer Tipton
Performers:  7 dancers
Length:  23 minutes

L’Amour au Théâtre is a co-production of Théâtre National de Chaillot in Paris and De Singel in Antwerp with additional support provided by the National Endowment for the Arts and the New York City Department of Cultural Affairs


Geometry of Quiet (2002) is Trisha Brown’s second work to the music of Salvatore Sciarrino. She matched the poignancy and delicacy of the music with choreography that implies a personal, emotional intimacy. 

Koreografi : Trisha Brown
Choreography : Trisha Brown
Music : Salvatore Sciarrino interpreted by Mario Caroli
Costume design : Christophe de Menil original costumes reimagined by Elizabeth Cannon
Lighting Design : Jennifer Tipton
Dancers : 6
Lenght : 20 minutes

Geometry of Quiet was commissioned by White Bird/Portland, Oregon and Montpellier Danse Festival.  Trisha Brown’s Geometry of Quiet is funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding for the National Endowment for the Arts and the Doris Duke Charitable Foundation.  Additional funding provided by the Andrew W. Mellon Foundation and Philip Morris Companies Inc.

Groove and Countermove (2000) is the final piece in a jazz trilogy where the dancers create an intriguing environment at once easygoing and vitally expressive. It reveals an intricate world of counterpoint between one dancer and the Company, the dance itself and Dave Douglas’ music, and the frenetic energy of the movement.

Chorégraphy : Trisha Brown
Music: Dave Douglas recorded by The Charms of the Night Sky 
Set & Costume Design: Terry Winters
Lighting : Jennifer Tipton
Performers : 9
Lenght : 23 minutes

Performing Arts part of the Doris Duke Millennium Awards for Modern Dance & Jazz Music Collaborations with additional funding from the National Endowment for the Arts.
Original score co-written by Skidmore College’s Office of the Dean of Special Programs.
Co-produced by Luzernertanz - choreographic centre at the Luzernertheater, and Octobre en Normandie Festival.
Additional production support received from, NYSCA Technology Initiative.


If you couldn’t see me (1994) « Trisha Brown debuted If you couldn’t see me at The Joyce Theater on May 3,1994, the first new solo choreography she had made since 1979.  Danced with gaze averted from the audience and directed upstage into the darkness, this work not only defies conventions and etiquette of performance, but deliberately deprives the body of the greater half of its expressive potential: that of its face and front.  The concept of dancing with the spine facing the audience was suggested by Robert Rauschenberg, who also designed the costume and composed the sound score for electric piano, his first musical composition.  A landmark within the history of collaboration between the two artists, If you couldn’t see me is also a masterpiece summarizing Brown’s longstanding application of rigorous structure and self-imposed limitation as means to unleash choreographic invention.  The defining rule of the dance neutralizes the representation of everyday emotion to transform the human body into a richly expressive abstract form. The back is featured as movement’s architect and regulator, and the body’s inescapably sensuous allure, cancelled by partial invisibility, is surrendered to make palpable complexities of visual perception.  It is as if the black cube of the theater, not the dancer, has turned 180 degrees. »
- Susan Rosenberg  

“Like much of her choreographic work, the dance evolved through a compositional technique Brown calls « problem solving». She imposes a restriction on herself and relies on her imagination, intelligence, and wit to find her solution.”
- The Christian Science Monitor -

Choreography: Trisha Brown
Music, Costume and Visual Presentation: Robert Rauschenberg
Lighting Design: Spencer Brown with Robert Rauschenberg
Dancer: solo
Premiered at « Festival de danse de Chateauvallon », July 1er 1994

Accumulation (1971) 
This witty and now-legendary solo (here performed as a duet) is based on the simple device of adding one gesture to another, one at a time, and repeating the growing phrase with each new movement.  Although it is not the performer’s intention to portray anyone or anything else, the dance is full of personal expression as the dancers respond to the physical action of the piece and to the audience.

Choreography: Trisha Brown
Music: “Uncle John’s Band,” The Grateful Dead
Dancer: Leah Morrison

The revival of Accumulation was made possible by the National Endowment for the Arts American Masterpiece: Dance Initiative, administered by the New England Foundation for the Arts.


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