Trisha Brown in London
A new offering from Trisha Brown doesn’t stand up to close scrutiny, says Clifford Bishop in The Sunday Times
The seven dancers wear red or blue unitards fitted with motion sensors that trigger infrared cameras overhead and, in the process, computer-generate a kind of giant screensaver projected on the air in front of them. There the similarity should end. Brown has never been interested in messages or narratives.
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Trisha Brown
By Jann Parry for The Observer
Though the American high priestess of postmodern dance can do joy and humour, they were in short supply this time round. The overall impression was of resolute worthiness, tweaked up to date with newish technology. Anyone turned on to contemporary dance by Mark Baldwin's delirious Constant Speed the previous week at the Wells would have been turned right off again.
Yet Baldwin took on big ideas, including Einstein's concept of Brownian motion. Yes, I'm labouring wordplay here to try to lighten Trisha Brown's experiments with space, time and gravity. She starts promisingly enough with Glacial Decoy (1979), which includes a phantom decoy dancer and daffy-duck skitterings as if landing on ice.
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