Trisha Brown Dance Company at The Joyce Theater
Company:
Trisha Brown Dance Company
The Trisha Brown Dance Company returns to The Joyce Theater with a program celebrating Trisha Brown’s Unstable Molecular Structure cycle, a defining artistic period which introduced the fluid yet unpredictable geometric style that remains a hallmark of her work today.
The Joyce program will feature two iconic pieces from this cycle, Opal Loop/Cloud Installation #72503 (1980) and Son of Gone Fishin’ (1981) both epitomizing Brown’s slippery, sensual flow of movement. Alongside these landmark works, the company, in partnership with Rolex, is pleased to present a new commissioned piece, Time again, by Australian choreographer Lee Serle in collaboration with Colombian visual artist Mateo López.
Trisha Brown had a profound influence on Serle’s creative process, serving as his mentor in the Rolex mentoring programme in 2010-2011. He continues to draw inspiration from this experience as well as from Brown’s methodology and body of work. Time again, set to an original score by Australian sound artist Alisdair Macindoe, explores cycles of time and the transformative potential of revisiting the past, where each return presents an opportunity to reframe and reshape our choices with a fresh perspective. Mateo López, also a former protégé in the Rolex mentoring programme—mentored by William Kentridge in 2012-2013—is designing the stage and costumes. López and Serle, collaborators since 2016, have consistently explored themes of chance, time, encounters, and the connections woven into daily life.
Opal Loop/Cloud Installation #72503 is Brown’s breathtaking collaboration with Japanese fog artist Fujiko Nakaya. This mysterious piece that flirts with perception and illusion features four dancers moving through Nakaya’s fog “cloud sculpture,” which creates sound as water passes through high-pressure nozzles. The movement reflects the delicate balance of the air surrounding the dancers, both constantly changing form and drifting off.
Son of Gone Fishin’, Brown’s first musical collaboration, features a raucous score by Robert Ashley. Revealing her precise, mathematical approach to movement, this complex choreographic structure is belied by the constant ebb and flow of six dancers accompanied by musical arrangements from three operas in Ashley’s Atalanta. The piece radiates outward like ripples from a stone cast into water—a natural metaphor Brown used to describe its severe yet captivating form.
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