تريشا براون
트리샤 브라운
トリシャブラウン
Триши Браун

floor of the forest

source: iteatrireit

Questo lavoro si svolge all’interno di una struttura di tubi di 3,50 m per 4,20 m ai quali sono legate delle corde su cui sono appesi dei vestiti: le maniche sono cucite alle gambe dei pantaloni in modo da creare una fitta e compatta superficie rettangolare. La trama è sospesa orizzontalmente a livello degli occhi, al centro di una stanza vuota. Il pubblico è libero di sistemarsi attorno al perimetro della struttura, dove i due interpreti si vestono e si svestono. Un’azione compiuta solitamente in posizione verticale che viene eseguita orizzontalmente prendendo nuova forma dall’impulso verticale della forza di gravità.
.
.
.
.
.
.
.
source: trishabrowncompanyorg

This is performed in a twelve-foot by fourteen-foot pipe frame across which are tied ropes densely threaded with clothes – sleeves are woven beneath pant legs forming a solid rectangular surface. The audience is free to move around in the periphery of the grid as the performers dress and undress their way through this structure. A normally vertical activity performed horizontally and reshaped by the vertical pull of gravity.
.
.
.
.
.
.
.
source: vimeo

Part of Dance Umbrella 2010 and the Celebrating Trisha Brown season, one of Trisha Brown’s most iconic early works, FLOOR OF THE FOREST (1970) comes to the UK for the first time.
Dancers from Candoco Dance Company and Laban students will animate the installation to coincide with Trisha Brown Dance Company’s REPERTORY EVENING. In the work, performers dress and undress their way through a free standing sculpture threaded with clothing. A normally vertical activity is performed horizontally and reshaped by the pull of gravity.
.
.
.
.
.
.
.
source: icabostonorg

Presented as part of Dance/Draw, Trisha Brown’s Floor of the Forest—part sculpture, part dance prop, part performance—features a 12 x 14-foot steel pipe frame across which ropes are tied and densely threaded with used clothing. Within the structure two dancers wend and weave, literally dressing and undressing their way through the sculpture. Each performance is subject to chance, allowing the individuality of each dancer who performs it to determine their movements, meaning no two performances are ever the same.
.
.
.
.
.
.
.
source: biennale-danse-lorrainefr

Arrivée à New York en 1960, Trisha Brown suit quelques cours au studio Cunningham, mais leur préfère ceux de Robert Dunn, acquis aux principes de John Cage sur l’indétermination. Elle découvre l’improvisation et rencontre bientôt Simone Forti, Yvonne Rainer et quelques autres avec qui elle fonde la Judson Church Theater, haut lieu de la culture d’avant-garde des années 1960 et 1970. Questionnant aussi bien les principes de composition chorégraphique que les lieux de la danse, on découvre dans ses premières créations, en écho aux travaux d’une autre américaine, Anna Halprin, une recherche autour des mouvements quotidiens (s’habiller, se déshabiller, marcher, prendre, lâcher) ainsi qu’un travail sur l’accumulation des gestes.

Ceci se déroule dans un cadre de tuyaux de 3,50 m sur 4,20 m auquel sont accrochées des cordes auxquelles des vêtements sont suspendus en trame serrée – des manches sont cousues aux jambes des pantalons de manière à fabriquer une surface rectangulaire solide. Le public est libre de se déplacer à l’intérieur de la périphérie de la grille. Deux performeurs s’habillent et se déshabillent en traversant la structure. Une activité habituellement verticale de la gravité terrestre.