Trisha Brown

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Susan Rosenberg. Trisha Brown

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TRISHA BROWN

Choreography as Visual Art

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Starting with an extensive reconsideration of Trillium (1962)—the choreography that marked her debut as a choreographer—this book calls attention to Brown’s self-positioning as an artist poised between dance experimentalism and dance tradition. In announcing Brown’s concern with the relationship between choreography and improvisation, her beginnings predict an artistic strategy that she only revisited in 1978. Yet looking back on the entirety of Brown’s fifty-year artistic career—with its ever-changing approaches to composing dances, each demanding/generating new movement vocabularies while also inspiring invention of new models of artistic collaboration—it is this dynamic (between the improvised and the choreographed) that remained the most enduring, foundational component of Brown’s creative process. This book logically, but abruptly, ends with a consideration of Newark (1987), for which the artist Donald Judd provided the visual presentation and sound score—and whose creation was interrupted, as well as informed by, Brown’s first experience in the field of opera (working with Lina Wertmuller in Naples on Bizet’s Carmen).

Retrospectively these projects announced an integration of purely abstract movement with representational elements (from opera)—later recapitulated in Brown’s ever-forward-looking assumption of new creative challenges—all of which lie outside this book’s parameters. At once revealing the circuitry of Brown’s mind in Newark’s aftermath (and coincident with significant changes in the nation’s funding mechanisms for dance in the 1990s), Brown was thrust into a state of ceaseless productivity, undertaking simultaneous projects in multiple arenas. She continued to create choreographies (with contemporary artists and composers) for the stage from 1989 to 2007 alongside the start of her direction of operas—six in all, and beginning with Monteverdi’s L’Orfeo (1998). Simultaneously she embraced a renewed interested in drawing on a large scale in works that ambitiously transcend this medium’s functionality in the scoring of her dances throughout the 1970s, discussed in chapter 4.

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