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Open AccessArticle

Trisha Brown: Between Abstraction and Representation (1966–1998)

Department of Art & Design, St. John’s University, Queens, NY 11439, USA
Received: 30 January 2020 / Revised: 28 February 2020 / Accepted: 22 March 2020 / Published: 27 March 2020
(This article belongs to the Special Issue Dance and Abstraction)
Choreographer Trisha Brown (1936–2017) is renowned as one of the most influential abstract artists of the twentieth and twenty-first centuries. Emerging from Judson Dance Theater and the 1960s avant-garde, Brown invented what she termed her ‘pure movement’ abstract vocabulary in the 1970s, rejecting narrative, psychology and character as bases for dance-making. Yet Brown’s notion of abstraction, when examined across the long arc of her fifty-year career, is more complicated and elastic than previously known. This essay addresses selected choreographies dating from her first decade as a choreographer, the 1960s, to the production of her first opera L’Orfeo (1998), underscoring how memories, images, language and stories fueled a previously unexamined dynamic relationship between abstraction and representation that profoundly influenced her choreography’s development. View Full-Text
Keywords: Trisha Brown; abstraction; representation; Judson Dance Theater; opera Trisha Brown; abstraction; representation; Judson Dance Theater; opera
MDPI and ACS Style

Rosenberg, S. Trisha Brown: Between Abstraction and Representation (1966–1998). Arts 2020, 9, 43.

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