Insight to Trisha Brown

I first became interested in Trisha Brown because of my interest in Judson Dance Theatre and the Grand Union. I was interested in this transition to postmodern dance, which Brown was a major part of. When discussing her "Roof Piece", Claudia La Rocca says the dancers were "moving their limbs as if transmitting mysterious messages". I think this quote demonstrates very clearly what Brown was doing with her new, groundbreaking dance and style. What interested me even more was the evolution of her dancing, how much it has changed from Judson to her present day company. This fueled my interest even more.

Early work:

"Man Walking Down the Side of the Building" (1970)

Present works:
"I Love My Robots" (2007)

Reviews

"It's A Draw" (2007)

Many reviews, including the New York Times, have commented on the development of her work. Jennifer Dunning states "from her signature 1983 “Set and Reset,” which opens the program, to the lushly beautiful “how long does the subject linger on the edge of the volume ...,” a 2005 collaboration with the interactive media artists Paul Kaiser, Shelley Eshkar and Marc Downie. The evanescent flutter-and-wheel of “Set” has become rooted, gutsy movement by “robots” time, the eight dancers tilting solidly, like off-balance Merce Cunningham performers". This reviewed her new piece at the time "I Love My Robots". While watching this piece, I am taken by her transformation into the new age, and using technology and all of her resources to create dance.

Trisha Brown and her company have a way of "flirting with gravity" as Joanna Kleinberg says in Frieze Magazine. She observes Brown's exploration into other art forms, such as abstract art.

Influence for Early Works

New York City really inspired Trisha Brown and her work. Living in Soho triggered the creation of movement and site-specific pieces; "Walking on the Wall" and "Roof Piece" did just that. Soho's shift from being striclty industrial to a residential and artistic district allowed arts to collide and spurred creativity. This collaboration is shown through one of her most famous pieces "Set and Reset". Here, she worked with fellow artists Robert Raushenberg and Laurie Anderson.


Rauschenberg set and costume design for "Set and Reset"

Living in New York Brown witnessed many social activist protests, as well as the famous Stonewall Riot. These acts of energy seemed to influence her works, especilly "Newark", a study of energy. The piece "is anchored visually and rhythmically in a duet for two men around which dancing of other temperaments occurs". I think these protests, riots, bustle and energy of everyday New York lended itself to "Newark" and other movement works.

Melanie Eskanzi made a statement after an interview with Brown that she is "one of the few artists who can make us aware both of the universality of dance and its sophisticated use in social and performance contexts". I believe this universality had something to do with the Vietnam War going on while she was beginning her choreographing. She made dance something relatable and peaceful. Working with the Grand Union and site-specific pieces seemed to enforce the idea that dance could be anything and anywhere, and did not have to be considered "mainstream".

"Man Walking Down the Side of the Building" is an example of this site-specific work.

"Man Walking Down the Side of the Building"

Lineage

Trisha Brown began her movement to postmodern dance with experimental musician Robert Dunn. He encouraged his students to play around with musicality, phrasing and their own style of technique. His teaching and influence resulted in the showcasing of his classes work at Judson Memorial Church. This has led to further exploration by Movement Research at the Judson Church. They have gone on to perform their experiments and concerts on Monday nights.

Dunn was not the only musician to inspire Brown and other modern dance artists. Louis Horst pushed her to experiment with music and how to create without the constraints of following certain musical cues. This history helped when she was later influenced by Lina Wertmuller, and her change of direction to operas, in which she branched out with other styles of dance.

“O zl˜ozony/O Composite" used classical ballet with members of the Paris Opera Ballet

Brown was also very much influenced by Anna Halprin, with whom she trained. Haprin used a lot of improvisation, the physical athleticism of the body, as well as art drama and psychology combined with dance. Yvonne Rainer, a fellow dancer, also experimented with exploring the body and its movements. This most likely pushed Brown to do the same. However, she also continued with her own ideas and intentions. While Rainer had her No Manifesto, Brown said she was "forever having to give herself permission to say yes". Rainer, Brown and Steve Paxton all worked with dance as very pedestrian movement; everyday life can be dance, and untrained dancers can be performers. These artists worked with her in Judson Dance Theatre and they pushed the boundaries of what was modern dance. Without them, she may not have explored these different developments.

She worked with many different artists. For many of her pieces she collaborated with Robert Rauschenberg to add the aestetics of the piece including "Glacial Decay" and "Foray Forêt".

"Glacial Decay" Robert Rauschenberg set and costume design

Later, more inspiration came from Terry Winters and Dave Douglas. Visual and auditory art were very important to her, and these partnerships allowed her to gain knowledge into these unknown fields, giving her knowledge for future endeavors. This encouraged her even more when she transitioned into opera.

Impact on Concert Dance

Brown has made a huge impact on present day modern dance. From being one of the first artists to breakthrough postmodern dance, and transform into a well-established, respected company almost 40 years later has been inspiration for many artists, not just dance. She uses common movements from everyday life, with the athleticism of her dancers, and a mixture of all types of art in order to create her pieces. What is just as impressive is that, "at 68 she still dances her own choreography with fluent control" and does not look at age as a constraint. Even though her dance has evolved, she still performs some of the same repertory and takes from past pieces for inspiration.

She had received teachings from John Cage and even some music. In many ways, she is similar to Merce Cunningham in the ways the use the physicality of the body, technology experiments and a look of expression, "always shying away from moments that might turn into drama". Notice the similarities with color, costume and technology.

Merce Cunningham piece
Trisha Brown piece

WHY?

Trisha Brown and many others have dedicated their lives to modern dance for very little recognition. This begs the question why any of this matters. What is the point of spending the time, energy and money on something that is not always accepted. Artists such as these are vital in order to keep modern dance alive. They push boundaries and encourage artists to experiment and not concern themselves with what it pleasurable and "normal". Without them modern dance may never have come into existence. Each experiment and risk has made modern dance what it is today, and an ever changing art. She may be controversial, but to me that means she's doing it right.

"Roof Piece" (1971)

"Homemade" (1966) projector strapped to her back