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Trisha Brown Retrospective

"Works by Brown don't just challenge our perceptions; they expand our minds and untether our spirits." --The Village Voice

Trisha Brown, the most widely acclaimed choreographer to emerge from the postmodern era, first came to public notice in the 1960s with the Judson Dance Theater. Along with like-minded artists Yvonne Rainer, Steve Paxton, and Simone Forti, they pushed the limits of what could be considered appropriate movement for choreography thereby changing modern dance forever. This “hot-bed of dance revolution” was imbued with a maverick spirit and took no assumption for granted - qualities that Trisha Brown still exhibits with full force, even as her work became embraced by the landmark opera houses of New York, Paris, London, and many other theaters around the world.

Trisha Brown was the first woman choreographer to receive the coveted MacArthur Foundation Fellowship Genius Award.  Amongst numerous awards, she has also received five fellowships from the National Endowment for the Arts and two John Simon Guggenheim Fellowships. Just last year Brown received dance’s prestigious Bessie Award for Lifetime Achievement.

In April 2013, Center for the Art of Performance at UCLA presents a weeklong celebration of this renowned choreographer and her company, presenting selections that highlight the tapestry of Trisha Brown’s exceptional body of work.

In addition to three ticketed performance evenings, CAP UCLA will explore this extraordinary artist from the floor to the roof.

Many of Trisha Brown’s early dances for alternative spaces harnessed rooftops and walls, in order to use and defy gravity in her surprising choreographies. As part of this retrospective, CAP UCLA invites you to experience Brown’s site-specific works--Floor of the Forest and Roof Piece.

In collaboration with the Hammer Museum and UCLA’s World Arts and Cultures /Dance department, Floor of the Forest will be presented as a temporary installation in the Hammer courtyard. The dance is created within a 12-by-14-foot pipe frame of tied ropes densely threaded with clothes - sleeves are woven beneath pant legs forming a solid rectangular surface. The audience moves around periphery as the performers dress and undress their way through the structure (dates and exact times will be announced closer to spring). Floor of the Forest will be free to the public.

Roof Piece is one of Brown’s most iconic works, which has grown in legend over years of photographic reproduction since its original premiere in 1973. Set along the rooftops in New York’s SoHo, and performed by twelve dance students wearing fire-red costumes, this work was recently re-mounted at the High Line in NYC and is slated to make a re-appearance as part of the Retrospective Project through CAP UCLA. (Look for event details as permits are approved closer to April. Roof Piece will be free to the public.)

Saturday March 30 – Sunday, April 21 at The Hammer Museum dancers from the UCLA World Arts and Cultures/Dance (WACD) program will perform three to four times a day Thursday through Sunday for 20 minutes at a time.

Thursday April 4 at the outdoor performance space of Sunset Recreation Amphitheatre, we present Astral Converted, a thrilling example of Brown’s enduring collaboration with artist Robert Rauschenberg.

Friday April 5 in Royce Hall, Trisha Brown Dance Company perform the choreographer’s most recent work I am going to toss my arms – if you catch them they’re yours as well as Set And Reset and Watermotor.

Saturday April 6 at the J. Paul Getty Museum members of the Trisha Brown Dance Company will premiere the classic work Roof Piece in L.A.

Sunday April 7 the company will perform an example from Brown’s rich operatic repertoire with Les Yeux et l’ame as well as another Rauschenberg collaboration, Foray Foręt and the intimate Spanish Dance.

The presentation of Trisha Brown Dance Company: The Retrospective Project is supported in part by the James A. Doolittle Endowment, the Roslyn Holt Swartz and Allan J. Swartz Endowment for the Performing Arts and the Royce Center Circle Endowment Fund.

The Retrospective Project also is made possible by the New England Foundation for the Arts--National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from The Andrew W. Mellon Foundation.

Additional support is provided by Bucky Hazan, Joe and Deborah Mannis, Bradley Tabach-Bank and the UCLA Arts Initiative Award.