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 Wendy Perron, a TBDC dancer from 1975 to 1978, reflected on her experiences of working with Trisha in an article for The New York Times: "The paradox is that while Trisha reveals what is usually hidden, she conceals what is usually visible. It's almost impossible to see where a chain of movement begins. We see whipping, staggering and folding motions seamlessly interwoven. We see movements travel through the body like a wave. But we never see where in the body the movement is initiated. Trisha is a master at deflecting the eye. Before you realize it, you've missed it, and something else grabs your attention. This is what makes the lifts look like floats. We don't see one dancer lift another; we see several bodies coming at one another, and suddenly a dancer is sailing." (The New York Times, Paying Heed To the Mysteries of Trisha Brown by Wendy Perron. July 8, 2001) Trisha Brown's 1998 production of Monteverdi's Orfeo was hailed by London's Daily Telegraph as the '...perfect dance opera...' and was granted the Grand Prix for opera by the critics in France. TBDC will revive Orfeo in the house for which it was designed, Brussels' La Monnaie in May 2002. (The Daily Telegraph) Of the New York premiere of Trisha's landmark opera at BAM, Deborah Jowitt wrote: "Transformed by Brown's modernist sensibility, motion is loosened from literal narrative to reflect the music's fluidity." (The Village Voice, Look Back! by Deborah Jowitt. June 29, 1999) "Canto/Pianto," Trisha's companion piece to L'Orfeo, is an abstracted retelling of the Orpheus myth. TBDC will perform this work for the reopening of Lower Manhattan Cultural Council's Evening of Stars Series in Battery Park on September 21, 2002. After the Company's Kennedy Center performance of this work, Jean Beatty Lewis remarked: "Her opening scene is a masterful stroke of theater... The movement that follows reflects Miss Brown's amazing ability to create a blooming, buzzing swirl of movement that resolves itself into the structural clarity of a straight line of dancers. The entire company performed with gusto." (The Washington Times, 'Rapture' in motion by Jean Beatty Lewis. February 19, 2000) El Trilogy, Trisha Brown's first evening length work, made its New York debut in Summer 2001 as part of the Lincoln Center Festival. The piece is composed of three distinct dances ingeniously linked by two intervals. The Company is preparing to bring this celebrated work back to New York as part of its mixed repertory season opening December 2, 2002. Of "Groove and Countermove," the final piece of El Trilogy, Deborah Jowitt of The Village Voice noted: " You don't just see Brandi Norton and Katrina Thompson, you see persimmon and lemon embarking on a duet. They explore the glories of Brown's vocabulary: its coltishness, its constant soft unfurling and bending, the twist of one body part against another. The movement is so fluid that its precise designs come as a surprise, like a leaf floating on a current." (The Village Voice, Go Sin Some More by Deborah Jowitt. July 31, 2001) "Set and Reset," Trisha's landmark collaboration with Robert Rauschenberg and Laurie Anderson, will be among the repertory featured in the December 2002 New York Season as part of the Great Performer's Series at Lincoln Center. Of TBDC's Toronto performance of "Set and Reset," Paula Citron wrote: "So clever is the architecture of this dance, that as history repeats endlessly on film, and themes loop back in the music, Brown's choreography shifts her dancers across the stage in restless pathways like a kaleidoscope." (The Globe and Mail, Clever dance-history lesson from postmodern pioneer by Paula Citron. April 6, 2000.) |
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Copyright 2002 Trisha Brown Dance Company - NY, NY. All rights reserved Address: 625 W. 55th Street, 2nd Floor, NY, NY 10019 ph.212 582 0040 |
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