





Trisha Brown Dance Company / Noé Soulier
Glacial Decoy / In the Fall / Son of Gone Fishin’
With three pieces created over a period of more than 40 years, we are dedicating an evening to American choreographer Trisha Brown, focusing on her artistic work and its legacy following her death in 2017. Her works combine choreographic complexity with an almost everyday lightness and grace, bringing a piece of dance history to our stage that is not to be missed.
GLACIAL DECOY (1979) is Trisha Brown's first choreography for a classical stage and also marks a turning point in her career. The work is reminiscent of a long summer and is the first collaboration with visual artist Robert Rauschenberg, followed by numerous collaborations with other artists. Rauschenberg's black-and-white photographs form the backdrop for five dancers who take to the stage with swinging, light-footed, powerful, and precise movements. As if in tandem—as if they were invisibly connected at a certain distance—the dancers spread out, only to come together again shortly afterwards, emphasizing the juxtaposition of dance freedom and dependence.
The invitation in 2023 to Noé Soulier to develop a piece for the current company arose from a desire to highlight Trisha Brown's legacy by working with contemporary choreographers who identify with her artistic legacy. »In the Fall« traces Brown's movement vocabulary and combines it with Soulier's own choreographic principles to create a powerful and moving contemporary work.
The evening concludes with Trisha Brown's »Son of Gone Fishin'« from 1981. She herself describes this choreography as the pinnacle of complexity in her work. It is her first work with music, in which the dancers form a group composition to the electronic and rhythmic music of Robert Ashley. Between freedom and structure, the choreography reflects the breadth of her working methods and her engagement with minimalism.
Wiebke Hüster, FAZ»Brown was a genius, a truly extraordinary artist.«
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Wiebke Hüster, FAZ»Brown's dances—she created about a hundred of them between 1961 and 2011—are constructed with mathematical rigor and play with the laws of physics as if it were child's play. Each of her choreographies creates an abstract, unprecedented world, a sphere in which fantastic encounters and commonalities arise, with the audience as happy witnesses.«
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