Equipment Dances: Trisha Brown

1972 ◽  
Vol 16 (3) ◽  
pp. 135 ◽  
Author(s):  
Sally Sommer
Keyword(s):  
Trisha Brown

Choreographic Transmission in an Expanded Field: Reflections on “Ten Artists Respond to Trisha Brown’s Locus”

2018 ◽  
Vol 62 (2) ◽  
pp. 143-150 ◽  
Author(s):  
Hope Mohr ◽  
Larry Arrington ◽  
Gerald Casel ◽  
Gregory Dawson ◽  
Peiling Kao ◽  
...  
Keyword(s):  
Bay Area ◽  
Dance Company ◽  
First Time ◽  
Trisha Brown

The Locus project commissioned 10 Bay Area artists from multiple disciplines to learn Trisha Brown’s Locus and respond by creating their own pieces. It was the first time that the Trisha Brown Dance Company (TBDC) had allowed one of Brown’s dances to be transmitted beyond the company for the explicit purpose of inspiring new works.

Footprints: Dance on Paper by Trisha Brown

2021 ◽  
Vol 43 (3) ◽  
pp. 19-30
Author(s):  
Daniel Sack
Keyword(s):  
Trisha Brown

Trisha Brown, présent d'éternité

Esprit ◽  
2013 ◽  
Vol Octobre (10) ◽  
pp. 121
Author(s):  
Isabelle Danto
Keyword(s):  
Trisha Brown

Trisha Brown: "All of the Person's Person Arriving"

1986 ◽  
Vol 30 (1) ◽  
pp. 149 ◽  
Author(s):  
Marianne Goldberg
Keyword(s):  
Trisha Brown

scholarly journals A Criação entre Dança e Instalação

2018 ◽  
Vol 17 (1) ◽  
pp. 24-33
Author(s):  
Barbara Formis
Keyword(s):  
Work In Progress ◽  
Trisha Brown

Este artigo busca entender as similitudes, intelectuais e práticas ao mesmo tempo, entre o conceito de instalação, muitas vezes atribuído às artes visuais, e o de movimento dançado, muitas vezes considerado como efémero e transitório. Com a ajuda desta comparação, uma definição inovadora de criação artística poderia emergir. À primeira vista, nada associa o procedimento da criação coreográfica ao ato poiético de instalação artística. E, portanto, a linha se torna porosa em certas obras exemplares concebidas por Anna Halprin, Trisha Brown, Christian Rizzo, Boris Charmatz e Mette Ingvartsen. Isto poderia se explicar pela influência da prática dos happenings (Allan Kaprow) sobre arte contemporânea, onde a criação torna-se processo, work in progress, evento. Seguindo essa associação entre a instalação e a dança, é possível descobrir que o elemento do ar se apresenta como verdadeira matéria plástica, fonte de inspiração para os artistas e verdadeiro processo criativo.

scholarly journals What a body can do

2015 ◽  
Vol 1 ◽  
Author(s):  
Kirsten Maar
Keyword(s):  
Simple Structure ◽  
Mathematical Structure ◽  
Primary Group ◽  
The Third ◽  
Postmodern Dance ◽  
The Right ◽  
Geometric Order ◽  
Trisha Brown

When I enter the apartment on the first floor in Berlin Schöneberg, where the Musée de la danse is announced to take place, Rabih Mroué welcomes me and the others visitors. At the very first room, I encounter a workshop situation in which Shelley Senter, former dancer with Trisha Brown (one of the icons of postmodern dance) tries to teach some phrases of Primary Group Accumulation, a piece from 1973, to Claire Bishop, art historian and critic of relational and participatory aesthetics. Both are lying on the floor, and we are joining them. Primary Group Accumulation was the third piece set by the mathematical structure of accumulation, following the principle of a children’s game: A, AB, ABC, ABCD—repeating and adding one new element of movement after each repetition. Four dancers performed rotations and bending of the joints in unison; the easier and more everyday it looks, the harder it is to execute the movement in exact unison, with the right timing. The piece precisely negotiates the tension between the relatively simple structure, the non-virtuosic movement, and its interpretation—between “geometric order and corporal imprecision.”

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