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Trisha Brown Dance Company 2016 BAM Winter/Spring #TrishaBrown Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Trisha Brown Dance Company BAM Howard Gilman Opera House Jan 28—30 at 7:30pm Running time: approx. one hour and 40 minutes, including intermission Choreography by Trisha Brown Set and Reset (1983) Original music Long Time No See by Laurie Anderson Visual presentation and costumes Robert Rauschenberg Lights Beverly Emmons with Robert Rauschenberg PRESENT TENSE (2003) Music SONATAS AND INTERLUDES by John Cage Visual presentation Elizabeth Murray Costume design Elizabeth Murray reimagined by Season Sponsor: Elizabeth Cannon Lights Jennifer Tipton Newark (Niweweorce) (1987) Leadership support for dance at BAM provided Original sound orchestration and production by the Doris Duke Charitable Foundation and Peter Zummo with Donald Judd The Harkness Foundation for Dance. Visual presentation and sound concept Support for the Signature Artist Series provided Donald Judd by The Howard Gilman Foundation. Lights Ken Tabachnick Major support for dance at BAM provided by The SHS Foundation. Trisha Brown Dance Company Founding Artistic Director and Choreographer Trisha Brown Associate Artistic Directors Carolyn Lucas Diane Madden Dancers Cecily Campbell Marc Crousillat Olsi Gjeci Leah Ives Tara Lorenzen Jamie Scott Stuart Shugg Executive Director Barbara Dufty Trisha Brown Dance Company gratefully acknowledges the generous support of The Andrew W. Mellon Foundation, Bay Area Video Coalition, Booth Ferris Foundation, the Charles Engelhard Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Gladys Krieble Delmas Foundation, The Harkness Foundation for Dance, The Howard Gilman Foundation, Mid Atlantic Arts Foundation/ USArtists International, the Nathan Cummings Foundation, National Film Preservation Foundation, The New York Community Trust, the Princess Grace Foundation, the Robert Rauschenberg Foundation, The Shubert Foundation, the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council. TBDC also extends our sincere thanks to the Trisha Brown Company Board and all of the Company’s Individual Donors. Trisha Brown Dance Company Cecily Campbell Marc Crousillat Olsi Gjeci Leah Ives Tara Lorenzen Carolyn Lucas Diane Madden Jamie Scott Stuart Shugg Trisha Brown Dance Company Set and Reset (1983) Original music Laurie Anderson, Long Time No See Visual presentation and costumes Robert Rauschenberg Lights Beverly Emmons with Robert Rauschenberg Performers Cecily Campbell, Marc Crousillat, Olsi Gjeci, Leah Ives, Tara Lorenzen, Jamie Scott, and Stuart Shugg NY & US PREMIERE Next Wave Festival, BAM Howard Gilman Opera House, Brooklyn, NY—Oct 20, 1983 WORLD PREMIERE Festival d’Avignon, La Chartreuse, France—Jul 20, 1982 —Intermission— PRESENT TENSE (2003) Music—SONATAS AND INTERLUDES by John Cage. Copyright © 1960 by Henmar Press Inc. Distributed by C.F. Peters Corporation Visual presentation Elizabeth Murray Costume design Elizabeth Murray, original costumes reimagined by Elizabeth Cannon Lights Jennifer Tipton Performers Cecily Campbell, Marc Crousillat, Olsi Gjeci, Leah Ives, Tara Lorenzen, Jamie Scott, Stuart Shugg NY PREMIERE 35th Anniversary Season/Lincoln Center, New York, NY—Apr 14, 2005 US PREMIERE Meany Hall/University of Washington, Seattle, WA—May 20, 2004 WORLD PREMIERE Theatre Debussy, Cannes, France, December 1, 2003 The 2014 PRESENT TENSE reconstruction is coproduced by the Akademie der Künste, Berlin, and Théâtre National de Chaillot, Paris and supported by the National Endowment for the Arts, The Charles Engelhard Foundation, and by TBDC’s generous Individual Donors. PRESENT TENSE was commissioned for the 2003 Cannes International Dance Biennale, Théâtre Debussy, and made possible by the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Ford Foundation, the Andrew W. Mellon Foundation, and Altria Group, Inc. Trisha Brown Dance Company Newark (Niweweorce) (1987) Original sound orchestration and production Peter Zummo with Donald Judd Visual presentation and sound concept Donald Judd Lights Ken Tabachnick Performers Cecily Campbell, Olsi Gjeci, Leah Ives, Tara Lorenzen, Jamie Scott, and Stuart Shugg US PREMIERE City Center, New York, NY, Sep 14, 1987 WORLD PREMIERE CNDC/Nouveau Théâtre d’Angers, Angers, France, Jun 10, 1987 Commissioned & Premiered in 1987 at CNDC Angers, France. Photo: Stephanie Berger Newark Who’s Who TRISHA BROWN (founding artistic director Douglas, with whom she created El Trilogy and choreographer) was born and raised in (2000). She then worked with longtime friend Aberdeen, WA. She graduated from Mills College and artist Elizabeth Murray to create PRESENT in Oakland, CA in 1958; studied with Anna TENSE (2003), set to music by John Cage. Halprin; and taught at Reed College in Portland, OR before moving to New York City in 1961. Brown stepped into the world of opera to Instantly immersed in what was to become the choreograph Carmen (1986) and again to direct post-modern phenomenon of Judson Dance Claudio Monteverdi’s L’Orfeo (1998; BAM, Theater, her movement investigations found the 1999). Since then, Brown has gone on to direct extraordinary in the everyday and challenged four more operas, including, Luci Mie Traditrici existing perceptions of performance. Brown, along (2001), Winterreise (2002), Da Gelo a Gelo with like-minded artists, pushed the limits of cho- (2006), and most recently, Pygmalion (2010). reography and changed modern dance forever. Continuing to venture into new terrain, Brown created O zlozony/O composite (2004; BAM, In 1970, Brown formed her company and 2009) for three étoiles of the Paris Opera Ballet, explored the terrain of her adoptive SoHo mak- working with long-time collaborators Laurie ing Man Walking Down the Side of a Build- Anderson and Jennifer Tipton. Forays into new ing (1970) and Roof Piece (1971). Her first technology created the witty and sophisticated I work for the proscenium stage, Glacial Decoy love my robots (2007), with Japanese artist and (1979), was also the first of many collaborations robotics designer Kenjiro Okazaki. Her opera, with Robert Rauschenberg. Opal Loop/Cloud Pygmalion (2010), produced two “suite de Installation #72503 (1980), created with fog danse” works, L’Amour au théâtre (2009; BAM) designer Fujiko Nakaya, was followed by Son and Les Yeux et l’âme (2011; BAM, 2013). of Gone Fishin’ (1981), which featured sets by Brown’s last work, I’m going to toss my arms—if Donald Judd. The now iconic Set and Reset you catch them they’re yours (2011; BAM, (1983), with original music by Laurie Anderson 2013), is a collaboration with visual artist Burt and visual design by Robert Rauschenberg, Barr, whose striking set is dominated by indus- completed Brown’s first fully developed cycle of trial fans. The original music is by Alvin Curran. work, Unstable Molecular Structures. This cycle epitomized the fluid yet unpredictably geomet- As well as being a prolific choreographer, Brown ric style that remains a hallmark of her work. is an accomplished visual artist, as experienced Brown then began her relentlessly athletic Valiant in It’s a Draw (2002). Her drawings have been Series, best exemplified by the powerful Newark seen in exhibitions throughout the world includ- (1987) and Astral Convertible (1989)—pushing ing the Venice Biennale, the Drawing Center in her dancers to their physical limits and explor- Philadelphia, The New Museum, White Cube, ing gender-specific movement. Next came the Documenta XII, Walker Art Center, Centre elegant and mysterious Back to Zero Cycle in Georges Pompidou, Mills College, Musée d’art which Brown pulled back from external virtuosity Contemporain de Lyon, and MoMA. Brown is to investigate unconscious movement. This cycle represented by Sikkema Jenkins & Co. in NYC. includes Foray Forêt (1990) and For M.G.: The Movie (1991). Brown collaborated for the final Trisha Brown has created more than 100 dance time with Rauschenberg to create If you couldn’t works since 1961, and was the first woman see me (1994), in which she danced entirely choreographer to receive a coveted MacArthur with her back to the audience. Fellowship. She has been awarded many other honors including five fellowships from the Na- Brown turned her attention to classical music tional Endowment for the Arts, two John Simon and opera production, initiating what is known Guggenheim Fellowships, Brandeis University’s as her Music Cycle. Choreographed to J.S. Creative Arts Medal in Dance, and has been Bach’s monumental A Musical Offering, M.O. named a Veuve Clicquot Grande Dame. In 1988, (1995) was hailed as a “masterpiece” by Anna Brown was named Chevalier dans l’Ordre des Kisselgoff of The New York Times. Brown con- Arts et Lettres by the French government. In tinued to work with new collaborators, including January 2000, she was promoted to Officier and visual artist Terry Winters and composer Dave in 2004, she was again elevated, to Comman- Who’s Who deur. She was a 1994 recipient of the Samuel H. Opera Ballet, Da Gelo a Gelo (2006) with Sal- Scripps American Dance Festival Award and, at vatore Sciarrino and La Monnaie, Rameau’s the invitation of President Bill Clinton, served on Pygmalion (2010) with William Christie and Les the National Council on the Arts (1994—97). In Arts Florissants, Festival d’Aix, Holland Festival, 1999, Brown received the New York State Gov- and Athens Festival, and Brown’s final work for ernor’s Arts Award and, in 2003, was honored the company, I’m going to toss my arms—if you with the National Medal of Arts. She had the catch them they’re yours (2011) which pre- honor of serving as a Rolex Arts Initiative Mentor miered at Théâtre National de Chaillot in Paris.
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