|Diane Madden, Tamara Riewe, and Laurel Tentindo in Planes, 2009. Photo: Stephanie Berger|
In 1968, going by Trisha Brown Schlichter, she performed Planes in an ambitious collective titled Intermedia '68. It included other notable performance artists such as Terry Riley, Remy Charlip, Carolee Schneeman, and Al Carmines, a key figure in the Judson Church Movement, of which Brown was a formative member. In Planes, dancers hung from, and moved between, holes in a wall, onto which was projected a film collage. It would be remounted at BAM in a 2009 repertory program.
The Trisha Brown Company performed Line Up in 1977 in the Lepercq; company members included choreographer Steve Paxton and Wendy Perron, who became editor of Dance magazine. As the BAM program note says, "The continuous forming and reforming of lines causes the dance to hover between order and disorder." The multi-section work included Spanish Dance, in which hip-swaying dancers, arms aloft, shuffle forward to accrue in a tightly packed line, and Solo-Olos, formed of phrases done forward and backward.
|Opal Loop/Cloud Installation #72503, Trisha Brown Company, 1981 in the BAM Lepercq Space.|
Photo: Harry Shunk
In the first BAM Next Wave Festival in 1983, Brown's company performed earlier pieces—Accumulation (1971) with Talking (1973) plus Watermotor (1977)—and ended with the world premiere BAM commission of Set and Reset, with music by Laurie Anderson and sets/costumes by Rauschenberg. It would become one of Brown's most beloved works, with its emphasis on movement hidden by the stage's legs, and its perpetual entrances and exits. The dance, which marked the completion of what became Brown's first named cycle of work—Unstable Molecular Structure—was performed at BAM again in 1996, 2013 and 2016.
Since 1968, Trisha Brown was a member of the BAM community. Her company has performed at BAM 10 times, in addition to several collaborations, talks, and classes.
We will truly miss Trisha.
|Trisha Brown, 1987. Photo: Peggy Jarrell Kaplan|