Co-presented with Baryshnikov Arts Center Thursday–Saturday, November 10–12, 2016 at 8:00 pm Post-performance discussion with Liz Gerring on Friday, November 11 (T)here to (T)here (World premiere) Liz Gerring Dance Company Liz Gerring , Choreographer In collaboration with Kay Rosen Michael J. Schumacher , Composer Amith Chandrashaker , Production and Lighting Design Joshua Higgason , Video Set Design Quinn Czejkowski , Costume Design in collaboration with Liz Gerring and Miguel Anaya Dancers : Brandon Collwes, Joseph Giordano, Pierre Guilbault, Julia Jurgilewicz, Claire Westby, Liz Gerring This performance is approximately 45 minutes long and will be performed without intermission. Please join the artists for a White Light Lounge immediately following the performances on Friday and Saturday. Liz Gerring would like to dedicate this performance to Kazuko Hirabayashi. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. Baryshnikov Arts Center, Please make certain all your electronic devices Jerome Robbins Theater are switched off. WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS: Artist Catering provided by Zabar’s and Zabars.com Saturday, November 12 at 7:30 pm in Alice Tully Hall Venetian Coronation American Airlines is the Official Airline of Lincoln Gabrieli (formerly Gabrieli Consort & Players) Center Paul McCreesh , conductor Works by ANDREA and GIOVANNI GABRIELI Nespresso is the Official Coffee of Lincoln Center Pre-concert lecture by Raymond Erickson at 6:15 pm in the Stanley H. Kaplan Penthouse: NewYork-Presbyterian is the Official Hospital of “Prisoners in Their Own Palace: The Doges of Lincoln Center Venice” (T)here to (T)here was developed in part during a Monday–Wednesday, November 14–16 at 7:30 pm technical residency at Baryshnikov Arts Center. in the Gerald W. Lynch Theater at John Jay College Thanks to the Mertz Gilmore Foundation’s Late- The Return of Ulysses Stage Production Stipend. The company would like Handspring Puppet Company to thank Kirk August Radke for his support in the William Kentridge , director development of this work. Ricercar Consort Philippe Pierlot , musical director MONTEVERDI: Il ritorno d’Ulisse in patria Post-performance artist discussion on November 15 Wednesday, November 16 at 7:30 pm in Alice Tully Hall Medieval to Modern Jeremy Denk, piano Works by MACHAUT, MONTEVERDI, BACH, MOZART, BEETHOVEN, BRAHMS, DEBUSSY, LIGETI, PHILIP GLASS , and more For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure. Visit WhiteLightFestival.org for full festival listings. Join the conversation: #LCWhiteLight We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Artist’s Note (T)here extends a longstanding partnership that is in and of itself a kind of duet, the By Liz Gerring introduction of visual artist Kay Rosen to the piece occurred by chance. While I first envisioned this dance as a solo—a gallery-hopping in Chelsea with Iréne return to the type of projects that began Hultman one afternoon, we passed my initial explorations of movement. Sikkema Jenkins. On exhibit were works However, that notion ultimately evolved by Kay Rosen, whose word paintings are into a duet that became, to some extent, a part of a genre I enjoy. When I subse - display of two people together, yet sepa - quently read that Kay was influenced by rate. A kind of dialogue formed—an Trisha Brown, whose work I greatly admire, exchange. Are they a couple? Together? I contacted her. The original idea was a dia - Apart? They are all of those things… logue between visual text and dancer, both moving on stage. However, as the piece Claire Westby and Brandon Collwes do not began to develop as a duet, the text began represent me, but they do represent how to emerge simultaneously with the action two people exist together, and everything on stage. The words add a suggestion of that implies. (T)here to (T)here was made context to the movement, not a description very specifically for these two dancers, of what is happening. They are a coloriza - with whom I have worked for a long time. tion of the environment in which the dance I began the choreography for this dance in is taking place. 2013, during a transitional period, when they were the only two dancers in the Throughout the creation of (T)here to company. For me, working on a solo or a (T)here , I intended for it to be performed at duet requires a very different relationship the Baryshnikov Arts Center, which has with the dancer (or dancers) than a group been such a critical part of my development piece requires. That level of intimacy—for as a choreographer. It was at BAC that I lack of a better word—between choreogra - learned how to transition my work from pher and dancer often takes several years studio to stage. Here, I began to have some to develop. But not always. When there is understanding of how to turn idea into a mutual feeling of confidence that each action. BAC feels like a homecoming of can get what is needed of one another, the sorts, and a place to peel back some layers relationship thrives. Both choreographer towards intimacy and self-expression. It’s and dancer share the thought: I can’t imag - also a particularly appropriate work for ine who else I could have made this piece Lincoln Center’s White Light Festival, where with. I think it all goes back to the fact that a variety of mediums share a very personal a choreographer is an artist working with approach to presentation. The intimacy of bodies—but the dancers are it, in the end. (T)here to (T)here at White Light will put These relationships are unique to modern stage and audience into close proximity. dance, as opposed to other art forms. That is another kind of duet. Movement up close gives another perspective . Although my collaboration with composer Michael J. Schumacher on (T)here to —Copyright © 2016 by Liz Gerring WhiteLightFestival.org Illumination (T)here to (T)here, Gerring-Rosen storyboard, page 1 By Kay Rosen Meet the Artists studied dance at the Cornish Institute in Seattle. In 1987 she received a bachelor of fine arts degree from The Juilliard School, Liz Gerring Dance Company where she studied with Kazuko Hira bayashi Since its inception in 1998, the Liz Gerring and Doris Rudko. In 1998 she presented Dance Company has been exploring non- her fi rst piece, a four-hour movement instal - narrative, abstract movement, often derived lation, and soon after she formed the Liz from natural gesture. Movement is evolved Gerring Dance Company. In 2015 Ms. from cause and effect rather than story - Gerring was awarded the Jacob’s Pillow telling and is framed by independent media Prize and a Joyce Theater residency and elements. The company is noted for its creation award. In 2016 –17 she was close collaboration with contemporary visual awarded a New York City Center artists and a longtime association with elec - Choreographic Fellowship. She lives in New tronic music composer Michael J. Schu - York City with her husband, Kirk August macher. In 2001 Gerring and Schu macher, Radke, her three children, and two dogs. with the support of Kirk August Radke, founded the nonprofit organization Tonal - Motion Inc ., dedicated to the creation and presentation of movement and sound art. L E Z N U G G The company is currently made up of N A G F seven dancers, and it regularly presents L O performances at the Baryshnikov Arts W Kay Rosen Center, Jacob’s Pillow Dance Festival, Kay Rosen’s (artistic collaborator) language- Joyce Theater, Montclair State University’s based art work has been exhibited in muse - Peak Performances, and Danspace ums and institutions for over three decades, Project, among other venues. The works among them the Art Gallery of New South she dreams in code and glacier were called Wales in Sydney; the Art Institute of out in the New York Times as top-ten Chicago; Museum of Fine Arts, Boston; dance works of the year in 2011 and 2013 Contemporary Art Gallery, Vancouver; respectively, with glacier nominated for a Kunsthalle Bielefeld, Germany; Museum of Bessie Award. The company received a Modern Art, the Drawing Center, and at the FUSED grant to create a new work and Whitney Biennial, New York; Aspen Art perform at Centre National de Danse Museum; Indianapolis Museum of Art; Contemporaine in Angers, France this past MASS MoCA, North Adams, Massa - May, its first European performance. chusetts; Museum of Contemporary Art, Los Angeles (solo survey exhibition 1998– 99); and the Hirshhorn Museum, Wash - ington, D.C. Ms. Rosen’s work has also been shown in numerous solo and group G gallery exhibitions in the U.S. and Europe. N E H C Her work resides in collections worldwide. E P P I L I Trained in languages and linguistics, Ms. H P Liz Gerring Rosen rejected academia in favor of a visual Liz Gerring Radke (choreographer) was approach to language early on, exploring the born in San Francisco in 1965. She grew up intersection of meaning and structure in lan - in the Los Angeles area and began studying guage through color, materials, scale, com - dance at the age of 13.