FILMS Trisha Brown Dance Company maintains

FILMS
Trisha Brown Dance Company maintains an archive of the company’s performances as well as several films
about Trisha’s work. The following films can be screened in spaces including galleries, lobbies, entryways or
windows to educate audiences and enrich the performance experience.
TRISHA BROWN Early Works 1966-1979
ARTPIX Notebooks
2-DVD Set • 2005
Total Running Time 4 hours, 5 minutes
DVD One: Early Works 1966–1979: Homemade, 1966 • Man Walking Down the Side of a Building, 1970 •
Floor of the Forest, 1970 (excerpt) • Leaning Duets, 1970 (excerpt) • Walking on the Wall, 1971 (excerpt) •
Accumulation, 1971 • Primary Accumulation, 1972 • Group Primary Accumulation, 1973 (excerpt) • Roof and
Fire Piece, 1973 • Structured Pieces II, 1974 (excerpt) • Spiral, 1974 • Locus, 1975 • Structured Pieces III,
1975 • Sololos, 1976 • Line Up, 1976 • Spanish Dance, 1976 • Watermotor, 1978 • Accumulation with Talking
plus Watermotor, 1979
DVD Two: A Conversation with Trisha Brown and Klaus Kertess
The first DVD of this two-DVD set presents film and video footage by filmmakers, including Babette
Mangolte, Carlotta Schoolman and Jonathan Demme, of eighteen of Brown’s major performances from
1966 to 1979. A companion DVD is a conversation between Trisha Brown and art historian, Klaus
Kertess, in which Brown talks about her dance education, early years in New York, work with Judson
Dance Theater and her fellow choreographers, as well as commenting on the creation of her own
innovative dances.
Trisha and Carmen (1988)
13:02 min, color, sound
Director: Burt Barr
Camera: Burt Barr, Gianni Occhiello, Maurizio Postiglione
Sound: Mario Nutile
Editor: Burt Barr
Choreographer: Trisha Brown
Dancers: Trisha Brown, Lance Gries, Diane Madden with Anna Maria Sorrentino
Music: Georges Bizet
Produced in association with New Television, WGBH-TV, Boston
Shot at the Teatro di San Carlo in Naples, Italy, Trisha and Carmen is a compelling narrative/document on
the 1987 production of Carmen, which was directed by Lina Wertmuller and choreographed by Trisha
Brown. Barr cuts between the rigorous discipline of rehearsal, Brown's meticulous preparations in her
dressing room, and the actual performance. Through the course of the tape, Barr traces Brown's
metamorphosis, paralleling her physical and mental transformation with the transformation from rehearsal
to performance. Anchoring the work on one central and riveting image — Carmen's measured and
sensual walk toward her lover — Barr returns to it throughout, zooming closer with each successive
sequence until it culminates in the performance itself. By focusing on this one memorable and essential
sequence, Barr articulates and magnifies the taut expressiveness of Brown's choreography.
Aeros (1990)
32:14 min, color, sound
Director: Burt Barr
Producer: Susan A. Fait
Choreographer: Trisha Brown
Visual Presentation: Robert Rauschenberg
Project Advisor: Kathy High
Dance: Astral Convertible (1989)
Dancers: Lance Gries, Nicole Juralewicz, Greg Lara, Carolyn Lucas, Diane Madden, Lisa Schmidt, Shelley Senter, Wil
Swanson, David Thomson
Music: Richard Landry
Set Engineering: Per Bior
Camera: Paul Gibson, Burt Barr
A Coproduction of Burt Barr and Trisha Brown Company, Inc. in association with WGBH-TV, Boston and
La SEPT, Paris.
Working at night, under the glare of automobile headlights, a man scours and restores the facade of a building
in New York's SoHo district. With this visual metaphor, Barr opens Aeros, a look at the evolution of Trisha
Brown's dance work Astral Convertible. Choreographed by Brown, with sets and costumes by Robert
Rauschenberg, the work premiered in New York in 1989 to critical acclaim. Barr traced the evolving production
process over a two-year period, following the company to Moscow, France, Florida, and New York. He allows
the dynamics of the choreography to emerge organically, without the imposition of a documentary voice.
Shooting primarily at night, he evokes a mysterious world of darkness, with sounds isolated and magnified,
and fleeting gestures and expressions caught in a sudden light. Interweaving dance sequences throughout, he
distills the essence of Brown's choreography through close-ups, a continually moving and dynamic camera,
and slow motion. Fusing the original score with the heightened ambient sounds, he layers a subtle, evocative
soundtrack of leitmotifs. Through his fluid orchestration of space and time, stillness and movement, light and
dark, Barr creates a seamless, self-contained world that works in tandem with the dance's physical reality.

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