for How Long . . .
To put a name to a new kind of art, call it “thinking images.”
the imagery is in some sense alive. Having endowed it with its
own structures and its own intentions, we set it free to figure
things out on its own over the duration of the dance.
characteristic of our imagery is this: It thinks by picturing things.
It sketches the relationships it perceives
as it starts making them out. This keeps its frames in constant
flux, for it continually re-adjusts itself as it tentatively
ideas. From time to time, we have it cast one kind of picture
aside completely and bring another one to bear, trying out a new
What is the imagery trying so hard to grasp? — The
same thing we are: the intricacy of Trisha Brown’s choreography
that all of us are watching as it unfolds.
To do so, the imagery
focuses not on individual dancers, but rather on the patterns
they form together. One such pattern,
perceived, is the spatial composition the dancers make at any
given moment on stage — the spaces between them; the similarities
and differences between their shapes.
But the deeper beauty of
the dance lies in patterns unfolding over time, and so our
imagery also has ways of remembering past
and tracing correspondences to the present. Many of the pictures
it makes are pictures of time. Like us, it forms expectations
about what might happen next, and it registers its surprise
if the dancing
veers off unexpectedly.
Our hope is that the imagery illuminates
the dance for you in a completely new way. This feels to us like