So since we usually share things we see via email. I figure we will begin to do that here.
I just got back from Trisha Brown Dance Company‘s show at DTW (or is it New York Live Arts now?). To steal a bit from her bio in the playbill, here is some background and why she is so fucking brilliant.
1961 -immersed in Judson Dance Theater. 1970 – formed her company. Did her show Man Walking Down the Side of a Building (what a title!), one of her many site specific pieces created in and around SoHo. 1979 – she starts working with Robert Rauschenberg (yeah, the big one). She goes onto create nearly 100 pieces (don’t worry, she is still alive, and super cute). She was the first woman ever to receive the MacArther Foundation Fellowship, and has a National Medal of Art. There are so many other awards and honors. I would just Wiki her.
That said, the show was pretty exciting. 3 pieces. The first piece was the most powerful, for me. The piece, from my point of view, felt like it was an activated abstract art piece. There was a backdrop that changed colors (but was nearly always a solid vibrant color). It only moved between purple, shades of purple and this amazing mustard yellow. When the yellow appeared, my heart raced. I have never felt THAT affected by a color.
The movement. Was the way I want movement to be. It reminded me of the way I dance in my bedroom, while listening to Lady Gaga or Beyonce. Light in the arms, dropping weight, exploring precision and explosion, fluctuating between quick abruptness and and slow fluidity, isolating joints and fingers and arms and limbs and everything, using the body as fully as possible. Each movement informs the next and learns from the movement before. It is a movement evolution. Like watching the process of learning to dance. You can actually see the birth of ideas and their incorporation. It was adventure. Exploration. Youth. Positive energy. Light. Bright. Beautiful.
Oh, and it is all about the breath. The breath is like beyond a communication tool. It is life. We hear it constantly and understand how fully engaged and living the performers are. I now always want to hear breathe.
There was also something about the floor noise, I thought was really cool. She used the way they touched the floor and made noise. She acknowledged that it was happening and used it. It became the musical score of the piece. That noise was musical and rhythmic. It told another story. It made the story richer (when I say story I am not referring to a narrative, but instead an abstract story like an abstract art piece’s story).
I was totally into it. The video from the 70s that is playing in the lobby. I want those pants SO bad. They are flowy and soft and baggy at the bottom but fitted at the waist. And when she dances in them. What an inspiration.