Roof Piece, (1971) Fairmount Park © Vikki Sloviter, 2019

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One of the most acclaimed and influential choreographers and dancers of her time, Trisha Brown’s ground-breaking work forever changed the landscape of art. From her roots in rural Aberdeen, Washington, her birthplace, Brown arrived in New York in 1961. A student of Anna Halprin, Brown participated in the cho-reographic composition workshops taught by Robert Dunn – from which Judson Dance Theater was born – greatly contributing to the fervent of interdisciplinary creativity that defined 1960s New York. Expanding the physical behaviors that qualified as dance, she discovered the extraordinary in the everyday, and brought tasks, rulegames, natural movement and improvisation into the making of choreography.

With the founding of the Trisha Brown Dance Company in 1970, Brown set off on her own distinctive path of artistic investigation and ceaseless experimentation, which extended for forty years. The creator of over 100 choreographies, six operas, and a graphic artist, whose drawings have earned recognition in numerous museum exhibitions and collections, Brown’s earliest works took impetus from the cityscape of down-town SoHo, where she was a pioneering settler. In the 1970s, as Brown strove to invent an original abstract movement language – one of her singular achievements – it was art galleries, museums and international exhibitions that provided her work its most important presentation context. Indeed, contemporary projects to introduce choreography to the museum setting are unthinkable apart from the exemplary model that Brown established.

Brown’s movement vocabulary, and the new methods that she and her dancers adopted to train their bodies, remain one of her most pervasively impactful legacies within international dance practice. Brown became a master orchestrator of collaboration; she used her own body, language and images to elicit and catalyze her dancers’ improvisations, which she edited and structured as choreographies. A major turning point in Brown’s career occurred in 1979, when she transitioned from working in non-traditional and art world settings to assume the role of a choreographer working within the institutional framework associated with dancing – the proscenium stage.

Today the Trisha Brown Dance Company continues to perpetuate Brown’s legacy through its Trisha Brown: In Plain Site initiative. Through it, the Company draws on Brown’s model for reinvigorating her choreog-raphy through its re-siting in relation to new contexts that include outdoor sites, and museum settings and collections. The Company is also involved in an ongoing process of reconstructing and remounting major works that Brown created for the proscenium stage between 1979 and 2011. In addition, the Company con-tinues its work to consolidate Trisha Brown’s artistic legacy through their management of her vast archives of notebooks; correspondence; critical reviews; and an unprecedented moving image catalogue raisonné, which records her meticulous creative process over many decades.

TRISHA BROWN 1936-2017FOUNDING ARTISTIC DIRECTOR & CHOREOGRAPHER

Set and Reset, (1983) © Chris Callis, 1996

Trisha Brown Dance Company (TBDC) is a post-modern dance company dedicated to the performance and preservation of the work of Founding Artistic Director and Choreographer, Trisha Brown. Established in 1970, TBDC has toured throughout the world presenting the work, teaching and building relationships with audiences and artists alike.

Brown engaged collaborators who are themselves leaders in music, theater and the visual arts, including visual artists Robert Rauschenberg, Donald Judd, and Elizabeth Murray and musicians Laurie Anderson, John Cage, and Alvin Curran, to name a few. With these partners, Brown created an exceptionally varied body of work, with premieres and performances for NYC audiences and international counterparts. When Brown retired as head of her Company in 2013, the Board appointed longtime Company members Diane Madden and Carolyn Lucas as Associate Artistic Directors with the mandate that they present her dances in a variety of spaces, in-doors and out, proscenium and alternative; develop, deepen and expand the Company’s educational initiatives; and treat the Company’s archive as a living organism to be used to better understand her work, in particular, and dance in general.

To complement and augment proscenium touring, TBDC offers Trisha Brown: In Plain Site, a program which pairs indoor and outdoor sites with selected pieces from Brown’s repertory. Working closely with presenters worldwide to create site-specific programs, TBDC restages each piece in dynamic relationship to its setting, amplifying Trisha Brown’s effortless affinity for naturalizing movement to the physical environment. Special focus is placed on audience engagement at each venue, breaking down barriers to access and providing an intimate experience for audience members both familiar with and new to modern dance.

The Company’s Education and Outreach program includes worldwide workshops, master classes and lecture demonstrations. Licenses of selected works are given to carefully chosen educational institutions and professional companies worldwide and works are regularly restaged on dance students and professional companies. Recent licensing and restaging projects include A.I.M. Abraham in Motion, Cal Arts, LASALLE College of Arts, Singapore, Stanislavsky Ballet, Paris Opera Ballet, Lyon Opera Ballet and Yale University.

In 2009, Trisha Brown Dance Company (TBDC) created the Trisha Brown Archive. The collection features close to 3,000 moving image materials including master performance footage of over 90 original works as well as “building tapes” – videos made while Brown created these works. The Archive also holds significant items such as photos, press, programs as well as audio material, musical scores, sets and costumes from Brown’s collaboration with some of the preeminent artists of the era. Archival material is used during the Company’s rehearsal processes and integrated into TBDC’s performance engagements to create a historical context for the work that is seen on stage. The Archive also provides reference assistance to staff members, students and researchers and facilitates requests for exhibition materials from a variety of cultural institutions. The Archive recently collaborated on three major exhibits on Robert Rauschenberg: Robert Rauschenberg at the Tate Modern, Robert Rauschenberg: Among Friends at MOMA, and Robert Rauschenberg: Erasing the Rules at SF MOMA.

ABOUT THE COMPANY

Astal Converted, (1991) Park Ave Armory © Samantha Siegel, 2012

PROSCENIUM REPERTORY

Set and Reset (1983)Music: Laurie AndersonPerformers: 6 dancersLength: 28 minutes

The seductively fluid quality of the movement in this Trisha Brown masterpiece, juxtaposed with the unpredictable geometric style has become the hallmark of Ms. Brown’s work. Performed to a driving score by Laurie Anderson, the exploration of visibility and invisibility is reflected in the translucent costumes and set by Robert Rauschenberg. “... a sigh-inducing mix of cool and gorgeous.”- NY Times

Foray Forêt (1990)Music: Local marching bandPer formers: 9 dancersLength: 28 minutes

Foray Forêt (1990), the first work in Brown’s elegant and mysterious Back to Zero cycle, is marked by a conscious simplification. With a vocabulary of intimate movements generated through engaging the subconscious mind—what Brown called “delicate aberrations”—the piece sets off pared-down athleticism against enigmatic, miniaturized physical gesture. *

*Language was largely drawn from the program notes from 2008 performances at the Walker Art Center.

Groove and Countermove (2000)Music: Dave DouglasPerformers: 9 dancersLength: 28 minutes

This is the final piece in Brown’s jazz trilogy. It reveals an intricate world of counterpoint between one dancer and the Company and the frenetic energy of the movement. Whether engaged in bold unison phrases or catapulting off each other through the air, the dancers create a captivating environment, at once easy-going and vitally expressive set to Dave Douglas’s jazz score.

Top to Bottom : Set and Reset (1983), © Stephanie Berger, 2016; Foray Forêt (1990), © Karli Cadel, 2011; Groove and Countermove (2000), © Stephanie Berger, 2017

Working Title (1985)Music: Peter ZummoPerformers: 8 dancersLength: 28 minutes

A precursor to Lateral Pass, Working Title is one of Brown’s early explorations of suspended bodies, featuring eight dancers in new colorful costumes by Elizabeth Cannon. “Working Title went on to be a resource for years…broken patterns, making a traveling phrase…I was thinking of my childhood (when I ran through the forest over) moss and mud and hardwood and rotten wood. If you’re going fast, you just have to pick where you place your feet.”- Trisha Brown

Ballet (1968)Music: AmbientPerformer: 1 dancerLength: 5 minutes

“The presentation of Ballet was inspired by the company’s discovery (and preservation) of a series of color slides and a six-minute color film. Ballet is an important precursor to the iconic Man Walking Down the Side of a Building. Ballet is an ironic commentary on the traditional tightrope walk and on the codified language of ballet, (a long standing target of experimental choreographers working in the 1960s), Ballet also indulges in a distinctly feminine romanticism associated with the pink tulle tutu costume, the focus of several richly colored close-up film images.” - Susan Rosenberg, Consulting Historical Scholar.

Pamplona Stones (1974)Music: Dialogue; text by Trisha BrownPerformers: 2 dancersLength: 18 minutes

“Created through improvisation, Pamplona Stones marked a significant departure from her working methods...the self-imposed strictures of her 1970s works. Harkening back to a 1960s aesthetics, Pamplona Stones is performed in everyday clothes and uses props (a mattress, a chair, rocks and a suspended textile) in a seemingly innocent child’s game where movement and language are juxtaposed, and deadpan humor emerges from a combination of imagery and physical/linguistic artistry.” - Susan Rosenberg, Consulting Historical Scholar.

Top to bottom : Working Title, (1985); Ballet, (1968); Pamplona Stones, (1974), © Stephanie Berger, 2018

REPERTORYADDITIONAL AVAILABLE REPERTORY

Astral Converted (1991)Music: Robert RauschenbergPerformers: 9 dancerLength: 55 minutes

If you couldn’t see me (1994)Music: Robert RauschenbergPerformers: 1 dancerLength: 10 minutes

Opal Loop /Cloud Installation #72503 (1980) Music: No Music (Water passing through high-pressure nozzles.)Performers: 4 dancersLength: 15 minutes

Rogues (2011)Music: Alvin CurranPerformers: 2 dancersLength: 9 minutes

Solo Olos (1976)Music: AmbientPerformers: 5 dancersLength: 10-13 minutes

Watermotor (1978)Music: AmbientPerformers: 1 dancerLength: 2.5 minutes

You can see us (1995)Music: Robert RauschenbergPerformers: 2 dancersLength: 10 minutes

Set and Reset, (1983) Tate Modern © Dolly Brown, 2017

TRISHA BROWN: IN PLAIN SITE

Trisha Brown: In Plain Site, Jupiter Artland © Photo courtesey of Jupiter Artland, 2019

Trisha Brown: In Plain Site pairs indoor and outdoor sites with select pieces from Brown’s repertory. Each work is restaged in a dynamic relationship to the setting, amplifying Trisha Brown’s effortless affinity for naturalizing movement to the physical environment.

Ever a resourceful and dexterous innovator, Brown “...said she felt sorry for spaces that weren’t centerstage - the ceiling, walls, corners, and wing space. Not to mention trees, lakes, and firehouses,” Wendy Perron wrote in Dance Magazine. “She caused a revolution by… turning to the spaces that other dance-makers don’t.” In parks, museums, and public squares, among other sites, audiences are engaged in the intimate, up-close experience of Brown’s choreography through specially chosen excerpts from the repertory.

“Perfection in the park.” - Donald Hutera, The Times, London

THE TRISHA BROWN ARCHIVEThe Trisha Brown Archive was established in 2009 by resolution of the Board of Trustees, to preserve the legacy of Brown’s life and work, and to make accessible important historical documents to Company staff, and to visiting students and researchers. Comprising approximately 3,000 unique audiovisual recordings, and over 200 linear feet of documents on paper, including the Trisha Brown Dance Company Records and Brown’s Personal Papers, as well as extensive photographic material and ephemera, the archive represents a comprehensive record of Brown’s creative process, with an interdisciplinary and collaborative focus reflected in the scope of its material.

With generous funds from The Andrew W. Mellon Foundation, this year the Trisha Brown Archive completes a nearly ten-year project to fully preserve, describe, and make accessible the Company’s audiovisual holdings, including a large number of rare and historically significant film, video, and sound recordings. To date, over 1,500 at-risk analogue recordings have been preserved and digitized, and more than 3,500 resources, dating from as early as 1965 through present day, have been described in a database designed and implemented by former Company members Cori Olinghouse and David Thomson, making the Company’s collection of recorded rehearsals, performances, interviews, set components, lecture demonstrations and studio showings available for the first time to researchers and presenting institutions.

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2019-2020 EVENTS CALENDAR

2019 PERFORMANCES & EVENTS LOCATIONJanuary 5 Association of Performing Arts Professionals (APAP)

ConferenceWorking Title

NY CITY CENTERNew York, NY

January 21 Trisha Brown: In Plain Site MUSÉE DE L’ORANGERIE Paris (France)

January 25-26 Geometry of QuietGroove and CountermoveL’Amour au théâtre

LE QUARTZ, SCÈNE NATIONALE DE BREST Brest (France)

January 29-30 Geometry of QuietGroove and CountermoveL’Amour au théâtre

THÉÂTRE DE LORIENTLorient (France)

February 27 Archivists Round Table of Metropolitan New York, Inc.Archiving the Gesture: An Evening with the Trisha Brown Archive

TRISHA BROWN STUDIONew York (USA)

July 22 - 26 If you couldn’t see me NEW VICTORY THEATERNew York (USA)

August 9 - 11 Trisha Brown: In Plain Site EDINBURGH INTERNATIONAL FESTIVAL AT JUPITER ARTLANDEdinburgh (United Kingdom)

September 24 - 28 Trisha Brown: In Plain Site FAIRMOUNT PARKPhiladelphia (USA)

2020 PERFORMANCES & EVENTS LOCATIONJanuary 11 Working Title ASSOCIATION OF PERFORMING ARTS

PROFESSIONALS (APAP) AT CITY CENTER New York (USA)

March 11 - 13 Trisha Brown: In Plain SiteWorking TitleSet and Reset

THÉÂTRE DE NIMESNimes (France)

March 17 - 18 Set and ResetForay ForêtGroove and Countermove

MANÈGE, SCÈNE NATIONALEReims (France)

March 21 Set and ResetForay ForêtGroove and Countermove

LE POCAlfortville (France)

March 25 - 28 Trisha Brown: In Plain SiteSet and ResetForay ForêtGroove and Countermove

THÉÂTRE NATIONAL DE CHAILLOT Paris (France)

April 1 - 3, Set and ResetForay ForêtGroove and Countermove

LA ROSE DES VENTSVilleneuve d’Ascq (France)

May 22 - June 7 Working TitleForay ForêtGroove and Countermove

SPOLETO FESTIVALCharleston (USA)

The Company’s Education and Outreach partners with institutions of higher education worldwide to pioneer different education and outreach modalities to transmit core principles of Brown’s work and welcome a new generation of dancers into the Trisha Brown canon. Drawing inspiration from Brown’s collaborative processes, programs are developed into dance technique, repertory, and interdisciplinary courses. This includes multi-year teaching residencies, workshops, master classes and lecture demonstrations.

Dancers learn technique to “...increase physical sensation, and improve alignment in order to awaken movement’s freedom and range through heightened knowledge of the skeletal structure’s role in the function of the muscles... to insist on body-mind connectivity and patterned relationships between memory, emotion, and physical experience.” -Susan Rosenberg, Trisha Brown: Choreography as Visual Art.

NEW YORK CITY CLASSES

In 2018 TBDC, in partnership with Movement Research in New York City, began offering the first ever Trisha Brown weekly Company class taught by Company alumni at Eden’s Expressway. Core principles of Brown’s work, whether aesthetic, compositional, or kinetic, are taught via the creative and physical practices of past and current TBDC dancers. Each teacher offers a unique focus and range of personal experience related to their understanding of Trisha’s choreographic sensibility, with the goal of empowering students in their artistic pursuits.

WINTER & SUMMER INTENSIVES

Intensives offer students a steady and deep learning of Brown’s style through both current and former Company dancers. Classes focus on technique, repertory, and specifically engaging with Brown’s rich archive of multidisciplinary work to uncover new creative outlets and help students accomplish individual creative goals. Each Intensive offers students tools to deepen their knowledge of technical principles, compositional structure, forms, improvisation and performance. This is achieved through classes, video showings, written materials and end-of-week showings.

RESET AND RESTAGING RESIDENCIES (EDUCATIONAL AND PROFESSIONAL)

Brown’s philosophy of developing structure and form in infinite designs has become the cornerstone of the Company’s signature Reset Projects, a name derived from Brown’s iconic Set and Reset (1983). Led by Company dancers and alumni, Reset Project participants first learn the exact sequences from an original Brown work, and then engage in Brown’s unique choreographic protocol to generate their own variation of the original choreography. The Company also offers Restaging Projects where the original choreography is transferred by Reset and Restaging residencies. These residencies take place around the world both as an education initiative and on the professional level.

RECENT RESTAGING RESIDENCIES

A.I.M. Abraham in Motion (NY), Conservatory of Dance Purchase College, SUNY (NY), The Juilliard School (NY), Cal Arts (CA), LASALLE College of Arts, Singapore (China), Stanislavsky Ballet (Russia), Conservatoire National Supérieur de Musique et de Danse de Paris (France), Biennale College Danza, Venice (Italy), Royal Ballet Flanders (Belgium), Ballet Em Rhein (Germany), Paul Taylor Dance Company (NY), The New School (NY), New York University (NY), Lyon Opera Ballet (France), Centre National de Danse Contemporaine Angers (France) and the professional training program P.A.R.T.S. Brussels (Belgium).

EDUCATION & OUTREACH

2019 EDUCATION INITIATIVES LOCATIONJanuary TBDC NYC Winter Intensive. MOVEMENT RESEARCH

Eden’s ExpresswayNew York (USA)

January 16 - June 26 TBDC company class open to all every Wednesday 10 -11:30 AM.

MOVEMENT RESEARCHEden’s ExpresswayNew York (USA)

January 19 Masterclass ESPACE DES ARTS CHOREOGRAPHIQUESLyon (France)

January 28 NYC Department of Education, Dance Citywide Symposium professional training for NYC dance instructors.

GIBNEY DANCENew York (USA)

January 28-February 1 Education - Masterclass CENTRE NATIONAL DE LA DANSELyon, France

April 1 - June 8, 2019 Biennale College Danza Set and Reset/Reset project. 13TH INTERNATIONAL FESTIVAL OF CONTEMPORARY DANCE OF LA BIENNALE DI VENEZIAVenice (Italy)

May 1 Master Class UNIVERSITY OF THE ARTSPhiladephia (USA)

May 22 - 25 Set and Reset/Reset project performances May 22-25 as part of the end of the year showcase.

LA MANUFACTURELausanne and Geneva (Switzerland)

June 17 - 28 TBDC NYC Summer Intensive. MOVEMENT RESEARCHEden’s ExpresswayNew York (USA)

September 4 - December 18

TBDC company class open to all every Wednesday 10 -11:30 AM.

MOVEMENT RESEARCHEden’s ExpresswayNew York (USA)

Fall 2019 Contemporary technique class. CAL ARTS SCHOOL OF DANCE California (USA)

Fall 2019 Repertory and technique class. NORTH CAROLINA SCHOOL OF ARTSNorth Carolina (USA)

December 02 - 08 Set and Reset/Reset project performances as part of the SUNY/PURCHASE CONSERVATORY OF DANCE Winter Dance Performances.

SUNY/PURCHASE CONSERVATORY OF DANCE Purchase (USA)

2020 EDUCATION INITIATIVES LOCATIONJanuary 13 - 17 TBDC NYC Winter Intensive. MOVEMENT RESEARCH

Eden’s ExpresswayNew York (USA)

January 13 - 17 DANCE FORWARD intensive repertory and technique workshop.

92Y/HARKNESS DANCE FOUNDATIONNew York (USA)

February 2020 Set and Reset/Reset workshop. CONSERVATORI SUPERIORI de DANSABarcelona (Spain)

2019-2020 EDUCATION CALENDAR

2019 EDUCATION INITIATIVES LOCATIONMarch 23 - 28 Set and Reset/Reset project performances as part of the

THE JUILLIARD SCHOOL Spring Dances series .THE JUILLIARD SCHOOLPeter Jay Sharp TheaterNew York (USA)

Spring 2020 TBDC company class open to all every Wednesday 10 -11:30 AM.

MOVEMENT RESEARCHEden’s ExpresswayNew York (USA)

Spring 2020 Repertory and technique workshop with an informal showing. TISCH SCHOOL OF THE ARTSNew York (USA)

Spring 2020 Repertory and technique class. P. A. R. T. SBrussels (Belgium)

June 2020 TBDC NYC Summer Intensive. MOVEMENT RESEARCHEden’s ExpresswayNew York (USA)

July 2020 Trisha Brown History and repertory class. BATES DANCE FESTIVALMaine (USA)

2019-2020 EDUCATION CALENDAR

Foray Forêt, (1990) Lyon Opera Ballet licensing project © Blandine Soulage, 2019

Geometry of Quiet, (2002) The Getty Museum LA © Reed Hutchinson, 2017

L’Amour au théâtre,(2009) The Joyce Theater © Stephanie Berger, 2017

TRISHA BROWN

AWARDS AND DISTINCTIONS2015 Dance/USA Honors Award2013 BOMB Magazine Award2012 United States Artists Simon Fellow Robert Rauschenberg Award from the Foundation of Contemporary Arts2011 Dorothy and Lillian Gish Prize Bessie for Lifetime Achievement – New York Dance and Performance Award Roswitha Haftmann Foundation Prize2010 Rolex Arts Initiative Mentor S.L.A.M. Action Maverick Award Capezio Dance Award - Capezio Ballet Makers Dance Foundation2009 American Academy of Arts and Science Fellow Columbia College - Honorary Degree2008 Mills College Distinguished Achievement Award University of South Florida - Honorary Degree in Visual and Performing Art2007 Bank of Scotland Herald Angels Winner Dickinson College - Dickinson Arts Award University of South Florida - Distinguished Master Artist2006 Nijinsky Award2005 Benois de la Danse Prize for Lifetime Achievement Rolex Arts Initiative Panelist2004 Commandeur de l’Ordre des Arts et des Lettres - Government of France Age Critics Award (Winterreise), Best Show of Melbourne Festival2003 National Medal of Arts Wilson College - Honorary Degree2000 Officierdel’OrdredesArtsetdesLettres-GovernmentofFrance1999 New York State Governor’s Arts Award Grand Prix (L’Orfeo), Syndicat professionnel de la critique dramatique et musicale1996 Prix de la Danse de la Société des Auteurs et Compositeurs Dramatiques1994 Samuel H. Scripps American Dance Festival Award1991 MacArthur Foundation Fellowship Award1988 Chevalier de l'Ordre des Arts et des Lettres – Government of France1987 Sir Laurence Olivier Award Dance Magazine Award1986 Bessie - New York Dance Performance Award1984 Bessie - New York Dance Performance Award National Endowment for the Arts - Fellowship in Choreography John Simon Guggenheim Memorial Foundation - Fellowship in Choreography

1983 National Endowment for the Arts - Fellowship in Choreography Oberlin College - Honorary Doctor of Fine Arts1982 National Endowment for the Arts - Fellowship in Choreography Brandeis University - Creative Arts Medal in Dance1981 National Endowment for the Arts - Fellowship in Choreography Creative Artists Public Service Grant1977 National Endowment for the Arts - Fellowship in Choreography1976 Weatherwax High School, Aberdeen, WA - Distinguished Alumnus Award1975 John Simon Guggenheim Memorial Foundation - Fellowship in Choreography1974 Creative Artists Public Service Grant1970 Artist in India Award – Government of India

Carolyn Lucas attended North Carolina School of the Arts and graduated with a BFA in dance from SUNY Purchase before joining Trisha Brown Dance Company in 1984. Lucas originated roles in some of Brown’s most acclaimed works including Lateral Pass (1983), Carmen (1986), Newark (Niweweorce) (1987), Astral Convertible (1989), Foray Forêt (1990) and Astral Converted (1991). Lucas’ dancing has been described in the New York Times as “affecting in her softly penetrating attack” and “especially luminous.” In 1993, Brown appointed Lucas as her Choreographic Assistant, a position Lucas held for twenty years before being named Associate Artistic Director in 2013. As Choreographic Assistant, Lucas played an integral role in Brown’s creation process in dance and opera, working closely alongside Brown for pieces including If you couldn’t see me (1994), its revision to the duet You can see us (1995) with

Bill T. Jones and later Mikhail Baryshnikov, Monteverdi’s Orfeo (1998), and its revival in 2002, El Trilogy (2000), Luci Mie Traditrici (2001), It’s a Draw (2002), Winterreise (2002) with Simon Keenlyside, PRESENT TENSE (2003), O Zlozony/O Composite (2004) with étoiles from the Paris Opera Ballet, Da Gelo a Gelo (2006) with Salvatore Sciarrino and La Monnaie, Rameau’s Pygmalion (2010) with William Christie and Les Arts Florissants, Festival d’Aix, Holland Festival and Athens Festival, and Brown’s final work for the Company, I’m going to toss my arms- if you catch them they’re yours (2011) which premiered at Theatre National de Chaillot in Paris. In addition to assisting with new choreography, directing Company rehearsals and restaging existing choreography on the current dancers, Lucas has led projects for companies and institutions around the world, including The New School in NYC, P.A.R.T.S. in Brussels and Paris Opera Ballet. She was one of the first instructors Brown sent to P.A.R.T.S. to construct a Set and Reset/Reset, whose collaborative, interdisciplinary learning process is now a cornerstone of the Company’s education program. Lucas is currently documenting Brown's work for the Trisha Brown Archive.

Diane Madden attended Hampshire College in Massachusetts before joining the Trisha Brown Dance Company in 1980. Since then, Madden has danced, directed, taught, studied and reconstructed Brown’s work. A much lauded performer, Madden has been described in the New York Times as “one of those dancers who can make magic out of almost any task.” She has originated roles in works including Son of Gone Fishin’ (1981), Brown’s masterwork Set and Reset (1983), for which she was recently honored, along with the full original cast, by Movement Research in 2012, Lateral Pass (1985), Carmen (1986), Newark (Niweweorce) (1987), Astral Convertible (1989) for which she was awarded a New York Dance and Performance “Bessie” Award, Foray Forêt (1990), Astral Converted (1991), the “running solo” in For M.G.: The Movie (1991), Another Story as in falling (1993), Yet Another Story as in falling

(1994), M.O. (1995) set to Bach’s Musical Offering, Twelve Ton Rose (1996), Accumulation with Talking Plus Repertory (1997), Monteverdi’s Orfeo (1998) and the Interlude solos Rage and Ladder in El Trilogy (2000). Madden has served as Brown’s personal assistant and was the rehearsal director from 1984-2000. She continued to teach and direct special projects for the Company before serving again as Rehearsal Director from 2010 until 2013, when she was named Associate Artistic Director. Through the talents of dancers both within the company and from internationally known schools and companies, Madden enjoys keeping Brown’s rich range of choreography alive on stages and alternative sites worldwide. Madden has developed an approach to teaching that weaves anatomically grounded technique with improvisation, composition and performance skills. In addition to her own performance work in collaborative improvisational forms, she is greatly influenced by her study and practice of Aikido with Fuminori Onuma. Madden is honored to be the recipient of two Princess Grace Awards, the first in 1986 and the second for sustained achievement in 1994.

Stuart Shugg graduated in 2008 from the Victorian College of the Arts in Melbourne, Australia. In Australia, he worked with Russell Dumas’s Dance Exchange, and Linda Sastradipradja. In NYC, Stuart has worked with Jon Kinzel, Jodi Melnick, and was a member of the Trisha Brown Dance Company from 2011 to 2016. His own work has been shown in NYC at the Center for Performance Research, Gibney Dance Center, at Kathy Weis’s Sundays on Broadway, and in Uruguay at Teatro Solis. Currently, Stuart is an MFA in Dance Teaching Fellow at Bennington College, Vermont, USA.

Carolyn Lucas (Associate Artistic Director)

Diane Madden (Artistic Consultant)

COMPANY BIOGRAPHIES

Stuarty Shugg (Dancer / Rehearsal Assistant)

Oluwadamilare Ayorinde was raised in Teaneck, New Jersey received his BFA in dance from Mason Gross School of Arts at Rutgers University. Since graduating he has worked with Colleen Thomas, Bill Young and Kyle Marshall. Currently, he apprentices for Netta Yerushalmy. He is beyond excited to begin apprenticing for the Trisha Brown Dance Company.

Cecily Campbell is from Santa Fe, New Mexico and holds a B.F.A.in dance from New York University Tisch School of the Arts. She was a company member of Shen Wei Dance Arts from 2008 to 2013 and began working with the Trisha Brown Dance Company in 2012.

Kimberly Fulmer, originally from Dallas, Texas, received a BFA in Contemporary Dance from the University of North Carolina School of the Arts in 2016. During the summer of 2014, she was an apprentice with Dance Forum Taipei in Taiwan. Since graduating she has had the opportunity to perform with Bruce Wood Dance Project and Malashock Dance. She has also had the honor and joy of performing works by Trisha Brown, Merce Cunningham, Jose Limon, Emory LeCrone, and more. Kimberly began dancing with the Trisha Brown Dance Company in 2017.

Leah Ives holds a B.F.A. in Dance and minor in Movement Science from the University of Michigan. Leah has since collaborated and performed with The A.O. Movement Collective/Sarah A.O. Rosner, Avodah Dance Ensemble, Elizabeth Dishman, Median Dance/Alex Springer and Xan Burley, the Leopold Group, and the Peter Sparling Dance Company. In addition to dancing, Leah is also a NY State Licensed Massage Therapist.

Amanda Kmett’Pendry, hailing from Southern Maryland, is a dancer living in New York City. Since receiving a B.F.A. from The University of the Arts, in Philadelphia, she has had the pleasure of working with artists Jonathan Allen, Wally Cardona & Jennifer Lacey, Jodi Melnick, Sam Kim, Katie Swords, Teddy Tedholm, Romeo Castellucci, the Red Hot Chili Peppers, Adrienne Westwood and Netta Yerushalmy. She has danced with Trisha Brown Dance Company since 2016.

COMPANY BIOGRAPHIES (CONTINUED)

Cecily Campbell (Dancer)

Oluwadamilare Ayorinde (Dancer)

Kimberly Fulmer (Dancer)

Leah Ives (Dancer)

Amanda Kmett’Pendry (Dancer)

Kyle Marshall graduated from Rutgers University. He dances with doug elkins choreography etc. and has worked with Tiffany Mills Company and 10 Hairy Legs. In 2014, Kyle organized Kyle Marshall Choreography. His work has been performed throughout the tri-state area including; Jacob’s Pillow Inside/Out, Joe’s Pub, NJPAC, NYC Summerstage, Montclair Dance Festival, and Wassaic Arts Project. In 2017, Kyle was awarded a New Jersey Arts Fellowship in Choreography.

Patrick McGrath was born and raised in Santa Monica, California. He graduated with a Bachelor of Fine Arts from New York University’s Tisch School of the Arts in 2016. Prior to that he was a student at the Los Angeles County High School for the Arts. In the past McGrath has worked and performed with BANDPortier, Company Stefanie Batten Bland, and Cherylyn Lavagnino Dance Works. He started dancing with the Trisha Brown Dance Company in 2017.

Jacob Storer attended the University of Wisconsin-Stevens Point and graduated from PARTS in Brussels, Belgium where he worked with various artists amongst many disciplines as part of the 3-year training. He collaborates with Libby Farr in a continuous research project investigating a more Somatic based approach to Ballet and is also developing his own work under the name Amphigory in collaboration with Theo Livesey. Jacob joined Trisha Brown Dance Company in 2017.

COMPANY BIOGRAPHIES (CONTINUED)

Foray Forêt (1990) Fairmount Park © Ted Alcorn, 2019

Kyle Marshall (Dancer)

Patrick Mcgrath (Dancer)

Jacob Storer (Dancer)

www.trishabrowncompany.org341 W 38th St. Suite 801, New York, NY 10018

t/ (212) 977-5365 f/ (212) 925-8687

Trisha Brown, Founding Artistic Director and Choreographer

Carolyn Lucas, Associate Artistic Directorc.lucas@trishabrowncompany.org

Diane Madden, Artistic Consultantd.madden@trishabrowncompany.org

Barbara Dufty, Executive Director(212) 977-5365 x 117, b.dufty@trishabrowncompany.org

Anne Dechêne, Company Manager(212) 977-5365 x 121, company@trishabrowncompany.org

Daniel Feinstein, Development Director(212) 977-5365 x 120, development@trishabrowncompany.org

Adriane Medina, Finance Manager(212) 977-5365 x 118, a.medina@trishabrowncompany.org

Stacy Spence, Education Director(212) 977-5365 x 119, education@trishabrowncompany.org

Eva Barajas, Marketing Coordinator(212) 977-5365 x 123, marketing@trishabrowncompany.org

Nick Kolin, Production Manager(646) 306-4464, nick.kolin@gmail.com

Jessie Ksanznak, Stage Manager(212) 977-5365 x 122, production@trishabrowncompany.org

David Thomson, Archive Technical Consultant

Anne Boissonnault, Archivist(212) 977-5365 x 124, archives@trishabrowncompany.org

Ben Houtman, Autovisual Archivist(212) 977-5365 x 124, preservation@trishabrowncompany.org

Susan Rosenberg, Consulting Historical Scholar

Jennifer Lerner, Public Relationslernernyc@aol.com

Thérèse Barbanel, Les Artscéniques, International Representation+ 33 1 48 93 66 54, tbarbanel@numericable.fr

Colette de Turville, International Representation+33 (0) 1 42 07 11 51, cdeturville@orange.fr

Elsie ManagementLaura Colby, Director: Exclusive Representation in North America

(718) 797-4577, www.elsieman.org

Cowboy ©Trisha Brown

Board of Trustees: Dorothy Lichtenstein, Chair, Jeanne Linnes, President, Michael Hecht, Treasurer, Jeanne Collins, Ruth Cummings, Barbara Gladstone, Lawrence P. Hughes, Fredericka Hunter, Anne Livet, Stanford Makishi, Joan Wicks