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OCT 2018 NEXT WAVE FESTIVAL NEXT WAVE Roy Lichtenstein, Reflections on Hair, 1990 Published by: Season Sponsor: Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Trisha Brown Joseph V. Melillo, Executive Producer Dance Company Season Sponsor: DATES: OCT 10—13 at 7:30pm OCT 13 at 2pm Leadership support for dance at the BAM LOCATION: BAM Fisher (Fishman Space) Harvey and the BAM Fisher provided by the Doris Duke Charitable Foundation RUN TIME: Approx 1hr, 5mins Leadership support for dance at BAM provided no intermission by The Harkness Foundation for Dance Major support for dance at BAM provided by The SHS Foundation Support for female choreographers and composers in the Next Wave Festival provided by the Virginia B. Toulmin Foundation Support for dance at the BAM Fisher provided by the Mertz Gilmore Foundation The 2018 Richard B. Fisher Next Wave Award honors Joseph V. Melillo and his 36 years of #BAMNextWave visionary leadership of the Next Wave Festival BAM Fisher PROGRAM Trisha Brown Dance Company BALLET (1968) Reconstruction directed by Carolyn Lucas Costume: Trisha Brown rebuilt by Elizabeth Cannon Sound: Ambient Founding Artistic Director Lighting: Beverly Emmons and Choreographer Original Cast: Trisha Brown Trisha Brown Cast: Cecily Campbell Aerial consultant: Bobby Hedglin Taylor Associate Artistic Directors Media consultant: Bill Brand Carolyn Lucas Consulting artist: Jack Warren Diane Madden NY Premiere: Riverside Church Theater, New York, NY, June 19, 1968 Dancers Oluwadamilare Ayorinde Cecily Campbell PAMPLONA STONES (1974) Kimberly Fulmer Leah Ives Reconstruction directed by Cori Olinghouse Amanda Kmett’Pendry In collaboration with Sylvia Palacios Whitman Kyle Marshall Sound: Dialogue, text by Trisha Brown Patrick McGrath Lighting: Beverly Emmons Jacob Storer Original cast: Trisha Brown, Sylvia Palacios Whitman Cast: Leah Ives, Amanda Kmett’Pendry Executive Director Special thanks to Colin Gee for his feedback and dramaturgy Barbara Dufty NY Premiere: 383 West Broadway, New York, NY, June 11, 1974 WORKING TITLE (1985) Reconstruction directed by Diane Madden and Carolyn Lucas Sound: Peter Zummo, selections from the suite Six Songs: “Sci-Fi,” “Slow Heart,” “Song VI,” “Song IV” Performed by: The Peter Zummo Orchestra Mustafa Khaliq Ahmed (percussion), Guy Klucevsek (accordion), Dave Phillips (bass), Bill Ruyle (marimba and tabla), Peter Zummo (trombone) Costumes: Elizabeth Cannon Lighting: Beverly Emmons Flying by Foy Flying Operators: Philippe Ladue and Libby Polkoski Original Cast: Trisha Brown, Irène Hultman, Carolyn Lucas, Diane Madden, Stephen Petronio, Lisa Schmidt, Vicky Shick, Randy Warshaw Cast: Oluwadamilare Ayorinde, Cecily Campbell, Kimberly Fulmer, Leah Ives, Amanda Kmett’Pendry, Kyle Marshall, Patrick McGrath, Jacob Storer Specials thanks to Vicky Shick and Stephen Petronio US Premiere: Walker Art Center, Minneapolis, MN, September 5, 1985 Notes on company in 1971. Throughout the early relationship between dancing, set, and 1970s, Brown’s choreography was rooted music finalized as Lateral Pass, presented Tonight’s Program in a rigorous systematicity, defined by her in September 1985 at New York City use of scores derived from an amalgam Center (the company’s first appearance in This program of three Trisha Brown works of geometric shapes and alpha-numerical a midtown Manhattan venue). Departing from the 1960s, 1970s, and 1980s logic. Created through improvisation, from her prior concern with the black highlights the breadth of Brown’s artistic Pamplona Stones marked a significant box’s geometric logic, Brown’s dance experimentation, her playful wit, and departure from her working methods; concept was two-fold. First, she wanted innovative physical artistry—but also the Brown told critics that its working process to work with the theatrical apparatus: Trisha Brown Dance Company’s current was a welcome relief from the self- the curtain; the theater’s fly gallery (from approach to staging Brown’s works. imposed strictures of her 1970s works. which Graves’ set descended); and the Harkening back to a 1960s aesthetic suspension of a dancer from a rope The presentation of Ballet (1968) was Pamplona Stones is performed in everyday manipulated by the theater’s riggers, inspired by the company’s discovery (and clothes and uses props (a mattress, a evoking the centrality of ropes in Ballet preservation) of a series of color slides chair, rocks, and a suspended textile) in (1968), Man Walking Down the Side of and a six-minute color film, the latter a seemingly innocent child’s game where a Building (1970), and Walking on the showing alternating images of a tutu-clad movement and language are juxtaposed, Wall (1971). Second, she composed Brown inching along on all fours across a and deadpan humor emerges from a the dance by collaging together distinct pair of suspended ropes—one set located combination of imagery and physical/ choreographic phrases, a process that in a green outdoor landscape and the linguistic artistry. That this work remains she compared to Graves’ strategy for other—even more dangerously—on a an anomaly in Brown’s career certainly sculpture-making. Returning to the Manhattan rooftop. Performed on only one owes to its creation through dialogue with name Working Title, this performance occasion in 1968, this reconstruction is Sylvia Palacios Whitman who, during acknowledges that the dance has been based on documentary photographs that this period, developed her distinctive removed from the proscenium context for show the film and slides being projected dance-theater, which incorporated objects, which it was made and thereby is also on a make-shift rectangular screen; using both found and made. Appearing casual absent Nancy Graves’ sets and costumes. a nearby ladder, Brown climbed onto two and impromptu, Pamplona Stones was This unadorned version focuses attention suspended ropes, traveling behind the produced through what Brown called on the choreography and brings greater screen and across the stage, using this “memorized improvisation,” and thereby appreciation of Zummo’s complex four- “equipment” to incite awkward, original remained fixed in form throughout its part musical composition in which effects movements in which balance is tentatively four performances, including the initial of sonic transparency and opacity emerge and strenuously achieved in a precarious presentation at Brown’s live/work loft at from shifts between silence, speed, battle with gravity. Ballet is an important 541 Broadway. atmosphere, and musical density. Newly precursor to the iconic Man Walking commissioned costumes by Elizabeth Down the Side of a Building (1970). Working Title premiered in March 1985 Cannon resonate with Graves’ very An ironic commentary on the traditional at Zellerbach Hall at the University of different elaborately sculptural confections, tightrope walk and on the codified California/Berkeley. Launched to fame particularly in their deliberate use of color, language of ballet (a longstanding target with Set and Reset (1983), Brown’s pattern, and texture to generate visual of experimental choreographers working touring schedule exploded; thus as her reverberations among the dancers, and to in the 1960s), Ballet also indulges in a next work developed, she presented it as dramatize changing relationships between distinctly feminine romanticism associated a work-in-progress, mixing and matching individual performers’ roles in solos, duets, with the pink tulle tutu costume, the different units of choreography at different trios, and ensemble dancing. focus of several richly colored close-up performances, accompanied by Peter film images. Zummo’s evolving musical score, and with —Susan Rosenberg dancers clothed in neutral white costumes Consulting Historical Scholar, For Pamplona Stones—which premiered designed by Nancy Graves. Only when the Trisha Brown Dance Company; at the American Dance Festival in June, three collaborators met, at Minneapolis’ Director of MA (Museum Administration) 1974—Brown collaborated with Sylvia Hamline Theater for a residency sponsored Program/Professor of Art History, Palacios Whitman, who joined Brown’s by the Walker Art Center, was the St. John’s University, New York institutional framework associated with Ballet. She was one of the first instruc- dancing—the proscenium stage. CAROLYN LUCAS tors Brown sent to P.A.R.T.S. to construct Associate Artistic Director Set and Reset/Reset, whose collaborative, In her lifetime Trisha Brown was the recipi- interdisciplinary learning process is now Who’s ent of nearly every award available to con- Carolyn Lucas attended North Carolina a cornerstone of the company’s education temporary choreographers. The first woman School of the Arts and graduated with a BFA program. Lucas is currently sharing her first- to receive a coveted MacArthur “Genius” in dance from SUNY Purchase before joining hand knowledge of three decades of dancing, fellowship (1991), Brown was honored by Trisha Brown Dance Company in 1984. teaching, and documenting Brown’s work five fellowships from the National Endow- Lucas originated roles in some of Brown’s for the Trisha Brown Archive. She studies Who ment for the Arts; two John Simon Guggen- most acclaimed works including Lateral Tai Chi with Maggie Newman and Alexander heim Fellowships; and Brandeis University’s Pass (1985), Carmen (1986), Newark Technique with June Ekman. TRISHA BROWN Creative Arts Medal in Dance (1982). In (Niweweorce)

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