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ОглавлениеContents
| Acknowledgments | vii |
| Introduction | 1 |
| Trisha Brown, Back to the Future | |
| 1 Seeing the Score | 12 |
| Trillium (1962) | |
| 2 Memory and Archive | 36 |
| A string: Homemade, Motor, Outside (1966) | |
| 3 In a Crack between Dance and Art | 65 |
| “Equipment Dances” (1968–1971) | |
| 4 The Economy of Gesture | 107 |
| The “Accumulations” (1971–1973) | |
| 5 To Diagram, to Dance | 151 |
| Locus (1975) | |
| 6 Anthologizing Process | 183 |
| Line Up (1977) | |
| 7 Subjectivity, Desire, and the Thinking Body | 202 |
| Water Motor (1978) | |
| 8 From the White Cube to the Black Box (1979–1981) | 229 |
| 9 The Name of the Game | 262 |
| Set and Reset (1983) and Lateral Pass (1985) | |
| 10 Abstraction and Theatricality | 290 |
| Newark (Niweweorce) (1987) | |
| Epilogue | 312 |
| Trisha Brown’s Archival Imagination | |
| Notes | 325 |
| Index | 385 |
