Conference by Sarah Burkhalter / 6.11 at 6.30 pm
Art and Dance Historian
- Dancing at the Edge and on Paper. Architecture and Drawing in Trisha Brown’s Work.
The audacity of Trisha Brown’s choreography springs from her contact with architecture and drawing. By tipping over the usual scales and sites of dance, she has dealt new cards for feeling, performing, ordering, and watching movement. As radical in its conception as it is airborne in its practice, her work reveals the contrasts, but also the connections between the performing, the building, and the visual arts. Between dance and architecture, which one weighs in on the other? At the crossover of stage and paper, how does a stride become a tracing? Persisting from a first vertical piece like Planes (1968) to the cutout drawings of Eleven Incidents (2008), these questions invite us to follow the overlapping of body, place, and line in Trisha Brown’s work.
Three films showings
- Trisha Brown Early Works (1966-1979)
A selection of films and video sequences from filmmakers like Babette Mangolte, Carlotta Schoolman and Jonathan Demme, interlaced with Brown’s eighteen great performances.
- Trisha and Carmen (1988) directed by Burt Barr
A pulsating account of Carmen’s creation in 1987, directed by Lina Wertmuller and choreographed by Trisha Brown, focused on a central image - Carmen’s sensual march towards her lover.
- Aeros (1990) directed by par Burt Barr
A look at the creative process of Trisha Brown’s work, Astral Convertible (1989), taken over the the course of two years. Choreographic dynamics emerge organically in this film without the need for a voiceover.