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One of Sixty-Five Thousand Gestures / NEW BODIES

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One of Sixty-Five Thousand Gestures / NEW BODIES 60 One of Sixty-Five Thousand Gestures / NEW BODIES ONE OF SIXTY-FIVE THOUSAND GESTURES / NEW BODIES Emmett Robinson Theatre at June 7, 7:30pm; June 8, 7:00pm; College of Charleston June 9, 2:00pm and 7:00pm; June 10, 2:00pm One of Sixty-Five Thousand Gestures (2012) Choreography Trisha Brown and Jodi Melnick Music Hahn Rowe Costume Design Yeohlee Teng Lighting Design Joe Levasseur Dancer Jodi Melnick For Burt and Trisha NEW BODIES (2016) Choreography Jodi Melnick Music Continuum by György Ligeti Retro-decay by Robert Boston (Original Track created for NEW BODIES) Passacaglia by Henrich Biber Violin Monica Davis Harpsichord Robert Boston Costume Design Marc Happel Lighting Design Joe Levasseur Moderator Nicole Taney Dancers Jared Angle, Sara Mearns, Taylor Stanley 1 hour | Performed without an intermission The 2018 dance series is sponsored by BlueCross BlueShield of South Carolina. Additional support is provided by the Henry and Sylvia Yaschik Foundation. These performances are made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina, Wells Fargo, and Bank of America. Produced by Works & Process at the Guggenheim. One of Sixty-Five Thousand Gestures / NEW BODIES 61 YEOHLEE TENG (costume designer) is the founder of Choreography YEOHLEE Inc., a fashion enterprise based in New York. Teng believes design serves a function. She believes that “clothes JODI MELNICK (dancer/choreographer) is honored with have magic. Their geometry forms shapes that can lend a a Doris Duke Impact Award, a 2016 – 17 Lower Manhattan wearer power.” Teng’s work is in the permanent collection at Cultural Council Extended Life grant, a 2012 Guggenheim the Metropolitan Museum of Art where curator Richard Martin Fellowship, a Jerome Robbins New Essential Works grant hailed her as “one of the few practitioners of her art who has fully (2010 – 11), a Foundation for Contemporary Arts grant (2011), eschewed fashion-hyperbole to engage in a critical discourse and two Bessie Awards for sustained achievement in dance about clothing in space, on the body and in anthropometrics. (2001 and 2008). Melnick’s work has been presented at BAM’s Intellectually, Yeohlee is the new Bernard Rudofsky, offering Fisher theater; City Center’s Fall for Dance Festival; The Joyce insights into clothing as cultural anthropology.” Teng is the Theater; New York Live Arts; The Kitchen; La Mama; Jacob’s recipient of the Smithsonian Cooper-Hewitt National Design Pillow; DanceBox in Kansai, Japan; and the Dublin Dance Award for Fashion 2004. Festival. Melnick collaborated with Trisha Brown, creating and performing the solo One of Sixty-Five Thousand Gestures, and JOE LEVASSEUR (lighting designer) has collaborated with has had the privilege of working with choreographers/artists many dance and performance artists, including: Big Dance Twyla Tharp (1990 – 94, 2009), Mikhail Baryshnikov (2005 – Theater, Jennifer Monson, John Jasperse, Sarah Michelson, 08), Burt Barr, and continues to perform and collaborate with Neil Greenberg, David Dorfman, Jodi Melnick, RoseAnne Sara Rudner, Vicky Shick, Jon Kinzel, Rashaun Mitchell, Beth Spradlin, Maria Hassabi, Ishmael Houston-Jones, and Amanda Gill, Yoshiko Chuma, Charles Atlas, and David Neumann. Loulaki. His lighting design work has been seen throughout the Melnick teaches at Sarah Lawrence College and Barnard United States, Europe, and South America, and has received College. two Bessie Awards. In 2009, his Drop Clock installation was featured in the lobby of Dance Theater Workshop (New York TRISHA BROWN (choreographer) was one of the most Live Arts). In 2010, he showed a collection of original paintings acclaimed and influential choreographers and dancers of her at Performance Space 122, and in 2013 was commissioned to time; her groundbreaking work forever changed the landscape paint an original mural for AUNTS. Ongoing projects include of art. From her roots in rural Aberdeen, Washington, her lighting work for Brian Brooks/Wendy Whelan, Big Dance birthplace, Brown arrived in New York in 1961. Expanding Theater, and Palissimo. joelevasseur.com the physical behaviors that qualified as dance, she discovered the extraordinary in the everyday, and brought tasks, natural movement, and improvisation into the making of choreography. Dancers With the founding of Trisha Brown Dance Company in 1970, Brown set off on her own distinctive path of artistic investigation JARED ANGLE (dancer), a principal dancer with New York City and ceaseless experimentation, which extended for 40 years. Ballet (NYCB) since 2005, was born in Altoona, Pennsylvania. In the 1970s, as Brown strove to invent an original abstract He began dance training at the Allegheny Ballet Academy, movement language—one of her singular achievements—it received the Rudolf Nureyev Scholarship to attend the School of was art galleries, museums and international exhibitions that American Ballet in 1996, joined NYCB in 1998, and was awarded provided her work its most important presentation context. a Princess Grace Foundation USA Dance Fellowship in 2001. Brown’s movement vocabulary and the new methods that she and her dancers adopted to train their bodies remain one of her Since joining NYCB, Angle has performed many works by most pervasively impactful legacies within international dance George Balanchine, Jerome Robbins, and Peter Martins. He has practice. originated roles in ballets by Twyla Tharp, Benjamin Millepied, Justin Peck, Richard Tanner, Helgi Tomasson, and Christopher Designers Wheeldon, among others. Guest appearances include: Rome Opera Ballet, Singapore Ballet, Nevada Ballet Theater, as part MARC HAPPEL (costume designer) is the director of costumes of San Francisco Ballet’s 75th Anniversary Season, the 22nd at New York City Ballet (NYCB). For more than 30 years, he has International Ballet Festival Havana, and the 2015 Kennedy worked in costume in NYCB, the Metropolitan Opera, Barbara Center Honors televised on CBS. Matera Ltd, and his own costume company, Marc Happel Ltd. As a designer for NYCB, his designs include: the recent re-design of George Balanchine’s Symphony in C, Oltremare, Luce Nascosta (Bigonzetti), Quasi Una Fantasia, Why Am I Not Where You Are (Millepied), Namouna (Ratmansky), and Mirage (Martins). For Alvin Ailey, he designed Festa Barocca (Bigonzetti). Stage credits include: Kitty Killer and Charlie (Theatre Couture); Tell- Tale (Performance Space 122/Cherry Lane); Kiki & Herb: Stop, Drop, & Roll, Do You Here What I Hear, and Kiki & Herb Will Die For You (Carnegie Hall); Coup de Theatre (Cherry Lane); and Kiki & Herb Alive on Broadway (Helen Hayes Theatre). Film credits include: Wigstock: The Movie. 62 One of Sixty-Five Thousand Gestures / NEW BODIES SARA MEARNS (dancer), a principal dancer with New York MONICA DAVIS (violin), based in New York City, is a sought- City Ballet, began her training in Columbia, South Carolina. She after collaborator whose playing has been described as “refined is engaged to famed Broadway choreographer Joshua Bergasse. and attractive” by The New York Times. Davis holds a master’s Mearns is known for her roles in Swan Lake, Balanchine’s degree in violin performance from The Manhattan School “Diamonds” from Jewels, and Walpurgisnacht Ballet. She of Music, and a bachelor’s degree in history from Columbia has worked with such choreographers as Alexei Ratmansky, University. Davis has shared the stage with a wide variety of Christopher Wheeldon, Justin Peck, Benjamin Millipied, Peter artists, recently with Solange at Radio City Music Hall, and led Martins, Susan Stroman, Liz Gerring, Pontus Lindberg, and the string quartet on Regina Spektor’s 2017 North American Kim Brandstrup. Mearns has also recently guested with the and European tour. She regularly plays with the New Jersey Isadora Duncan Foundation at The Joyce Theater, The Ashley Symphony and is a member of the New York-based orchestra Bouder Project, hip-hop company Wang/Ramirez at New York Uptown Philharmonic. Davis performed selections from Lou City Center, and joined Matthew Bourne’s production of The Harrison’s Grand Duo with the Mark Morris Dance Group Red Shoes at New York City Center. In March 2018, Mearns Student Company (2017). She has played in more than 15 was a guest with Paul Taylor Dance Company to perform iconic Broadway shows and is currently concertmaster of the hit Isadora Duncan works. Mearns has been nominated twice for Broadway musical, Anastasia. This year she is looking forward the Benois de la Dance award for outstanding performance, to collaborations with choreographers Jodi Melnick and the Bessie Award for outstanding performance, as well as the Camille A. Brown. Princess Grace Award. HAHN ROWE (composer) is a composer, producer, and multi- GRETCHEN SMITH (dancer) was born in Evansville, Indiana, instrumentalist who has worked with Hugo Largo, David Byrne, and began her dance training at age 7 with Evansville Dance Antony and the Johnsons, Glenn Branca, Swans, R.E.M., and Theatre. Smith began studying at the School of American Yoko Ono, among many others. A recipient of three New York Ballet, the official school of New York City Ballet, during the Dance and Performance Awards (Bessie Awards), Rowe has a 2003 summer course and enrolled as a full-time student that long history scoring music for dance and theater, working with fall. Smith became an apprentice with NYCB in October 2005, Meg Stuart, Benoît Lachambre, Louise Lecavalier, Bebe Miller, and in February 2006, she joined
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