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I’m going to toss my arms, if you catch them they’re yours
I’m going to toss my arms, if you catch them they’re yours
I’m going to toss my arms- if you catch them, they’re yours was co-commissioned by Théâtre National de Chaillot and Trisha Brown Dance Company. This work was also 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; the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature; The Harkness Foundation for Dance and The Fan Fox and Leslie R. Samuels Foundation.
Trisha Brown (Founding Artistic Director and Choreographer) was born and raised in Aberdeen, Washington. She graduated from Mills College in Oakland, California in 1958; studied with Anna Halprin; and taught at Reed College in Portland, Oregon before moving to New York City in 1961. Instantly immersed in what was to become the post-modern phenomena of Judson Dance Theater, her movement investigations found the extraordinary in the everyday and challenged existing perceptions of performance. Brown, along with like-minded artists, pushed the limits of choreography and changed modern dance forever.
In 1970, Brown formed her company and explored the terrain of her adoptive SoHo making Man Walking Down the Side of a Building (1970), and Roof Piece (1971). Her first work for the proscenium stage, Glacial Decoy (1979), was also the first of many collaborations with Robert Rauschenberg. Opal Loop/Cloud Installation #72503 (1980), created with fog designer Fujiko Nakaya, was followed by Son of Gone Fishin’ (1981), which featured sets by Donald Judd. The now iconic Set and Reset (1983), with original music by Laurie Anderson and visual design by Robert Rauschenberg, completed Brown’s first fully developed cycle of work, Unstable Molecular Structure. This cycle epitomized the fluid yet unpredictably geometric style that remains a hallmark of her work. Brown then began her relentlessly athletic Valiant Series, best exemplified by the powerful Newark (1987) and Astral Convertible (1989) – pushing her dancers to their physical limits and exploring gender-specific movement. Next came the elegant and mysterious Back to Zero cycle in which Brown pulled back from external virtuosity to investigate unconscious movement. This cycle includes Foray Forêt (1990), and For M.G.: The Movie (1991). Brown collaborated for the final time with Rauschenberg to create If you couldn’t see me (1994), in which she danced entirely with her back to the audience.
Brown turned her attention to classical music and opera production, initiating what is known as her Music cycle. Choreographed to J.S. Bach’s monumental Musical Offering, M.O. (1995) was hailed as a “masterpiece” by Anna Kisselgoff of the New York Times. Brown continued to work with new collaborators, including visual artist Terry Winters and composer Dave Douglas, with whom she created El Trilogy (2000). She then worked with long-time friend and artist, Elizabeth Murray to create PRESENT TENSE (2003) set to music by John Cage.
Brown stepped into the world of opera to choreograph Carmen (1986) and again to direct Claudio Monteverdi's L’Orfeo (1998). Since then, Brown has gone on to direct four more operas, including, Luci Mie Traditrici (2001), Winterreise (2002), and Da Gelo a Gelo (2006) and most recently, Pygmalion (2010).
Continuing to venture into new terrain, Brown created "O zlożony/O composite" (2004) for three étoiles of the Paris Opera Ballet, working with long-time collaborators Laurie Anderson and Jennifer Tipton. Forays into new technology created the witty and sophisticated I love my robots (2007), with Japanese artist and robotics designer Kenjiro Okazaki. Her work with Pygmalion produced two dance pieces "L’Amour au théâtre" (2009) and "Les Yeux et l'âme" (2011). Brown’s last work, I’m going to toss my arms- if you catch them they’re yours (2011), is a collaboration with visual artist Burt Barr, whose striking set is dominated by industrial fans. The original music is by Alvin Curran.
As well as being a prolific choreographer, Brown is an accomplished visual artist, as experienced in "It’s a Draw" (2002). Her drawings have been seen in exhibitions, galleries and museums throughout the world including the Venice Biennale, The Drawing Center in Philadelphia, The New Museum, White Cube, Documenta XII, Walker Art Center, Centre Georges Pompidou, Mills College, Musée d'art Contemporain de Lyon, and Museum of Modern Art. Brown is represented by Sikkema Jenkins & Co. in NYC.
Trisha Brown has created over 100 dance works since 1961, and was the first woman choreographer to receive the coveted MacArthur Foundation Fellowship “Genius Award.” She has been awarded many other honors including five fellowships from the National Endowment for the Arts, two John Simon Guggenheim Fellowships, Brandeis University’s Creative Arts Medal in Dance, and she has been named a Veuve Clicquot Grande Dame. In 1988, Brown was named Chevalier dans l’Ordre des Arts et Lettres by the government of France. In January 2000, she was promoted to Officier and in 2004, she was again elevated, this time to the level of Commandeur. She was a 1994 recipient of the Samuel H. Scripps American Dance Festival Award and, at the invitation of President Bill Clinton, served on the National Council on the Arts from 1994 to 1997. In 1999, Brown received the New York State Governor’s Arts Award and, in 2003, was honored with the National Medal of Arts. She had the prestigious honor to serve as a Rolex Arts Initiative Mentor for 2010-11 as well as receiving the S.L.A.M. Action Maverick Award presented by Elizabeth Streb, and the Capezio Ballet Makers Dance Foundation Award in 2010. She has received numerous honorary doctorates, is an Honorary Member of the American Academy of Arts and Letters, and was awarded the 2011 New York Dance and Performance ‘Bessie’ Lifetime Achievement Award. In 2011, Brown was honored with the prestigious Dorothy and Lillian Gish Prize for making an “outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life.” In 2012, Brown became a United States Artists Simon Fellow and received the first Robert Rauschenberg Award from the Foundation of Contemporary Arts. She was recently honored with the BOMB Magazine Award.
Source : Trisha Brown Dance Company 's website
After studies of mathematics preparatory class and medecine studies, Luc Riolon begins to make films within the framework of his Faculty of Medicine, then met the famous choreographers of the 80s (Maguy Marin, Mark Tompkins, Josef Nadj, Daniel Larrieu Daniel, Odile Duboc, Josette Baiz, Angelin Prljocaj, etc.) with whom he shoots numerous films (re-creation for the camera, the illegal securements). In the 80s with the American choreographer Mark Tompkins he introduces the video on the stage, broadcasting live on big screens the images which he shoots with his camera by being on the stage with the dancers, mixing live images and pre-recorded images. With Daniel Larrieu he participates in the creation of the famous show WATERPROOF, the contemporary choreography which takes place in a swimming pool, by filming live) the dancers dancing in the water and mixing the live images with pre-recorded underwater images. This choreography has been shown in many countries (USA, Canada, Spain, England…)
Then he collaborates during 10 years with the famous french TV producer Eve Ruggieri for her programs" Musics in the heart ". He shoots with her of numerous documentaries about classical music, opera singers and dance. From 1999 he directs documentaries of scientific popularization, by following researchers attached to the resolution of a particular ecologic enigma. These two artistic and scientific domains which can seem separated are nevertheless, for Luc Riolon, connected by the same approach : the deep desire to understand the world, by the art or by the scientific research, and to restore it to the largest number. Among his recent scientific documentaries, we can quote for example " The Enigma of the Black Caiman ", Living and dying in the swamp " or " The Nile delta: The end of the miracle ". “Chernobyl, a natural history ? “ These documentaries of scientific popularization recently have been awarded in international festivals.
I'm going to toss my arms if you catch them they're yours
Choreography : Trisha Brown
Interpretation : Neal Beasley, Elena Demyanenko, Dai Jian, Tara Lorenzen, Leah Morrison, Tamara Riewe, Nicholas Strafaccia, Laurel Tentindo, Samuel Wentz
Set design : Burt Barr
Original music : "Toss and Find" by Alvin Curran, SAIE
Lights : John Torres
Costumes : Kaye Voyce
Production / Coproduction of the video work : Maison de la Danse
Duration : 30'
Genesis of work
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff