What Wendy's Watching: Trisha Brown Works You Might Not Know
Trisha Brown, the high priestess of postmodern dance, is hugely influential. Her slippery movement style and her brainy structures are emulated by choreographers all over the United States and Europe. I am an alum of her company, and when she died last March, I gathered my thoughts and memories to write this farewell.
Luckily, the Trisha Brown Dance Company is still going full steam ahead. From Dec. 12 to 17 it comes to New York City's Joyce Theater with three rarely seen works: Groove and Countermove (2000), to music by jazz composer Dave Douglas; L'Amour au théâtre (2009), based on a baroque opera by Rameau; and Geometry of Quiet (2002), with music by Salvatore Sciarrino.
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By the Sunday evening of a long convention weekend, you can expect to be thoroughly exhausted and a little sore. But you shouldn't leave the hotel ballroom actually hurt. Although conventions can be filled with magical opportunities, the potential for injury is higher than usual.
Keep your body safe: Watch out for these four common hazards.
For a Broadway dancer, few opportunities are more exciting than being part of the creation of an original show. But if that show goes on to become wildly successful, who reaps the benefits? Thanks to a new deal between Actors' Equity Association and The Broadway League, performers involved in a production's development will now receive their own cut of the earnings.
Jellicle obsessives, rejoice: There's a new video out that offers a (surprisingly substantive) look at the dancing that went down on the set of the new CATS movie.