Proscenium Works, 1979–2011 – Past Event

Performances by Trisha Brown Dance Company

Bryn Mawr College, McPherson Auditorium, Goodhart Hall
150 North Merion Avenue, Bryn Mawr, PA 19010
Wheelchair accessible

Friday October 23, 2015 || 8pm
Saturday October 24, 2015 || 8pm*

$20, discounts apply for seniors and students | Free with All-Access Pass
Tickets: or 610.526.5210

“I set two different phrases in opposing directions, aiming them like two arrows at each other. All that exquisite maneuvering that happens instinctively so as not to get hit or hurt was part of what I loved.” Trisha Brown

Set and Reset is unmistakably Miss Brown at her most tantalizing. Her virtuosic dancers exhibit a quality of movement that is distinctly hers—dartingly quick but so fluid that the body seems a conduit for flowing energy.” Anna Kisselgoff, The New York Times


Set and Reset (1983)
The seductively fluid movement alongside the sharply defined configurations in this Trisha Brown masterpiece became a hallmark of her work. With the constant charge of Laurie Anderson’s score, Set and Reset is nonstop movement, full of quick explosions. At the edges of the stage dancers are half in/half out, held at acute about-to-fall angles, their movements cut short to catch fellow dancers hurtling through space. Choreography Trisha Brown Sound Laurie Anderson Visual Design and Costumes Robert Rauschenberg Light Robert Rauschenberg with Beverly Emmons

If you couldn’t see me (1994)
A dance where the performer never faces the audience, a journey between presence and absence, the visible and the hidden. If you couldn’t see me is the final solo that Brown created for herself, and a collaboration with Robert Rauschenberg. The soloist is witnessed from behind; she never turns to face the audience. She relies on her body’s suppleness for personal expression. Now this “absence” of the dancer’s face is emblematic of Brown’s present retirement. Choreography Trisha Brown Sound, Visual Design and Costume Robert Rauschenberg Light Robert Rauschenberg with Spencer Brown

Like a summation of Brown’s artistry, PRESENT TENSE is rich with “Brownian motion,” sinuous and supple, along with adventurous partnering and devilish physical complexity. With raucous, cantilevered partnering, dancers ride and tumble, as if suspended, across space. Dancers multiply—one becomes two becomes four—and the changing groupings execute moves that skew the relationship of the top and lower halves of their bodies. Choreography Trisha Brown Sound John Cage Visual Design and Costumes Elizabeth Murray Lighting Jennifer Tipton

*Come early October 24 for a free 5:30pm performance of Floor of the Forest, and a free gallery talk on Trisha Brown: (Re)Framing collaboration, an exhibition of Trisha Brown and her collaborators’ art at 6:15pm. Refreshments served.

Photo: Julieta Cervantes