Trisha Brown Dance Company A year-long series of performances at Dia:Beacon

Dia:Beacon Riggio Galleries 3 Beekman Street Beacon New York 12508 845 440 0100 www.diaart.org

~

artis

tic d

irect

or a

nd c

hore

ogra

pher

T

risha

Bro

wn

danc

ers

Dai

Jia

n E

lena

Dem

yane

nko

Hyu

n-Ji

n Ju

ng

Leah

Mor

rison

T

amar

a R

iew

e T

odd

Law

renc

e S

tone

N

icho

las

Str

afac

cia

Laur

el T

entin

do

Sam

uel

von

Wen

tz

chor

eogr

aphi

c as

sist

ant

Car

olyn

Luc

as

rehe

arsa

l di

rect

or

Iren

e H

ultm

an

spec

ial

proj

ects

D

iane

Mad

den

prod

uctio

n m

anag

er

John

Tor

res

soun

d de

sign

er

Pat

rick

Hei

lman

Thi

s pr

ogra

m i

s su

ppor

ted

in p

art

by D

ia's

Boa

rd o

f T

rust

ees

, Pre

side

nt's

C

ounc

il,

Art

Cou

ncil,

and

the

New

Yor

k S

tate

Cou

ncil

on t

he A

rts,

a S

tate

age

ncy.

)

Dia

Art

Fou

ndat

ion

pres

ents

Tris

ha B

row

n D

ance

Com

pany

Pro

gram

1

Sat

urda

y, N

ovem

ber

14, a

nd

Sun

day,

Nov

embe

r 15

, 20

09

Pro

gram

2

Sat

urda

y, F

ebru

ary

13, a

nd

Sun

day,

Feb

ruar

y 14

, 201

0

Pro

gram

3

Sat

urda

y, M

ay 1

, 201

0

Bo

oks

ho

p D

isp

lay

No

vem

ber

, F

ebru

ary,

May

T

he D

ia:B

eaco

n bo

okst

ore

feat

ures

mat

eria

l fr

om T

risha

Bro

wn'

s co

llect

ion.

Scr

een

ing

s W

eeke

nd

s in

No

vem

ber

, F

ebru

ary,

an

d M

ay

The

Dia

:Bea

con

scre

enin

g ro

om f

eatu

res

film

and

vid

eo o

f T

risha

Bro

wn

Dan

ce C

ompa

ny.

Co

nve

rsat

ion

S

atu

rday

, F

ebru

ary

13,

2010

, 3

pm

T

rish

a B

row

n,

Kla

us

Ker

tess

, an

d P

hili

pp

e V

erg

ne

Dia

:Bea

con

galle

ries

Fo

reve

r Y

ou

ng

: So

me

Th

ou

gh

ts o

n M

y E

arly

Wo

rk T

od

ay

Tri

sha

Bro

wn

, w

ith

Su

san

Ro

sen

ber

g

As

a hi

gh-s

choo

l st

uden

t in

Abe

rdee

n, W

ashi

ngto

n, I

was

giv

en a

que

stio

nnai

re

mea

nt t

o as

sign

a s

uita

ble

care

er t

o m

e. I

was

tol

d a

futu

re a

s a

mus

ic l

ibra

rian

was

in

my

card

s. O

uoi?

N

o do

ubt

this

was

a d

eck

deal

t to

man

y ot

her

wom

en i

n

1950

s A

mer

ica,

how

ever

the

tes

t's p

redi

ctiv

e ef

ficac

y, o

r po

ssib

le s

igni

fican

ce,

didn

't co

mpu

te f

or m

e at

the

tim

e. I

n lig

ht o

f m

y fo

ur-p

lus

deca

des

as a

cho

reog

­

raph

er w

ho h

as d

escr

ibed

her

self

as "

a br

ickl

ayer

with

a s

ense

of

hum

or,"

ther

e

is a

n un

cann

y lo

gic

to t

hat

early

mea

sure

men

t of

my

prof

essi

onal

apt

itude

: m

y

form

al t

rain

ing

at M

ills

Col

lege

and

the

sum

mer

cla

sses

I to

ok a

t th

e A

mer

ican

Dan

ce F

estiv

al w

ith L

ouis

Hor

st,

the

pree

min

ent

teac

her

of m

oder

n da

nce

com

posi

tion,

wou

ld s

et m

e up

to l

ove

stru

ctur

e, f

orev

er.

Bef

ore

even

set

ting

foot

on

Ann

a H

alpr

in's

out

door

dan

ce d

eck

(in t

he s

umm

er

of 1

960)

, na

ture

was

my

equi

pmen

t an

d or

dina

ry a

nd a

thle

tic m

ovem

ent

my

lan­

guag

e. G

row

ing

up i

n A

berd

een,

I li

ved

in tr

ees,

clim

bing

hig

h an

d th

en w

alki

ng

dow

n un

even

terr

ain,

fee

ling

my

wei

ght's

sub

tly r

egul

ated

but

irr

egul

ar s

hifti

ng­

all t

he w

hile

wis

hing

to

be a

irbor

ne, t

o fly

. At

Ha

lprin

's w

orks

hop,

I fo

und

task

to

be a

sym

path

etic

, us

eful

way

to

gene

rate

mov

emen

t, an

d I w

as i

ntrig

ued

by th

e

poss

ibili

ty o

f ad

mitt

ing

talk

ing

into

dan

ce p

erfo

rman

ce;

how

ever

, I s

till

cons

ider

ed

impr

ovis

atio

n a

tabo

o to

be

brok

en o

n m

y ow

n te

rms.

l_n C

alifo

rnia

and

the

n in

New

Yor

k in

196

0 an

d 19

62,

I was

tw

ice

seen

tra

nsfo

rmin

g ta

sk i

nto

fligh

t. T

his

stor

y is

one

of

the

true

myt

hs o

f m

y or

igin

s as

a c

hore

ogra

pher

.

In 1

967,

I d

rove

foo

thol

ds i

nto

the

wal

l of

my

SoH

o lo

ft, i

n or

der

to r

each

the

ceili

ng b

ut a

lso

to m

ove

on a

ver

tical

pla

ne. I

n 19

70,

I cho

reog

raph

ed a

wal

k

dow

n th

e fa

<;a

de o

f th

e bu

ildin

g w

here

I li

ved,

80

Woo

ster

Str

eet,

and

on t

he

sam

e pr

ogra

m, "

Dan

ces

In a

nd A

roun

d 80

Woo

ster

Str

eet,"

I s

uspe

nded

mys

elf

and

anot

her

danc

er a

bove

the

grou

nd i

n cl

othi

ng r

igge

d on

a g

ridde

d fr

ame,

Flo

or o

f th

e F

ores

t (1

970)

. In

thes

e w

orks

, as

in L

eani

ng D

uets

I (

1970

),

I

enlis

ted

grav

ity a

s a

colla

bora

tor,

a m

achi

ne f

or m

akin

g da

nces

. Bac

k th

en,

for

a br

ief

perio

d, it

was

but

a s

hort

tre

k fr

om d

ownt

own

Man

hatta

n to

the

Whi

tney

Mus

eum

, whe

re,

in 1

971,

tog

ethe

r w

ith s

even

oth

er d

ance

rs,

I wa

lked

acr

oss

the

whi

te w

alls

of

a ga

llery

em

ptie

d of

all

othe

r ar

t. F

ootp

rints

, lef

t fle

etin

gly,

wer

e

pain

ted

over

.

For

fifte

en y

ears

, I t

augh

t at

my

loft

on 8

0 W

oost

er S

tree

t, pr

epar

ing

for

one

half

hour

by

writ

ing

dow

n fif

teen

thi

ngs

to d

o in

my

clas

s. T

he i

deas

cam

e fa

st

and

I dod

ged

no b

ulle

ts.

My

chor

eogr

aphi

c pr

oces

s w

as i

ncre

asin

gly

defin

ed

by a

rig

orou

s ec

onom

y, a

lthou

gh o

ne e

ncum

bere

d by

the

requ

ired

"equ

ipm

ent,"

scul

ptur

al c

onst

ruct

ions

and

act

ual

arch

itect

ure

used

to

imbu

e m

y w

ork

with

an

inte

rnal

log

ic,

natu

ral

and

inev

itabl

e.

I she

d th

e eq

uipm

ent

to d

elib

erat

ely

expl

ore

the

body

's s

truc

ture

, in

par

ticul

ar,

the

capa

bilit

ies

of t

he jo

ints

and

spi

ne, w

here

mov

emen

t oc

curs

thr

ough

thr

ee

task

s: b

end,

str

aigh

ten,

and

rot

ate.

To

mak

e m

y or

igin

al m

ovem

ent

lang

uage

, I

set

off

in p

ursu

it of

"pu

re m

ovem

ent"

-tha

t is

, mov

emen

t w

ithou

t co

nnot

atio

n,

neith

er f

unct

iona

l no

r pa

ntom

imic

.

Acc

umul

atio

n ( 1

971

), a

sol

o, s

tart

ed w

ith o

ne m

ovem

ent,

the

rota

tion

of t

he f

ist

with

thu

mb

exte

nded

; th

is w

as r

epea

ted,

and

to

it an

othe

r m

ovem

ent

was

add

ed;

thes

e tw

o w

ere

repe

ated

, an

d th

en a

third

was

add

ed, a

nd s

o on

. B

uilt

from

sel

f­

cont

aine

d m

ovem

ent

units

, eac

h A

ccum

ulat

ion

danc

e is

als

o a

sing

le s

tatio

nary

obje

ct i

n th

ree-

dim

ensi

onal

sp

ace.

Fro

m t

he m

ovem

ent

mat

eria

l of

Acc

umul

atio

n

cam

e P

rim

ary A

ccum

ulat

ion

(197

2),

in w

hich

a s

upin

e fig

ure

syst

emat

ical

ly

accu

mul

ates

thi

rty

mov

es in

eig

htee

n m

inut

es,

rota

ting

fort

y-fiv

e de

gree

s ea

ch

on t

he l

ast

two

mov

es u

ntil

a 36

0-de

gree

tu

rn i

s co

mpl

eted

.

Pri

mar

y Acc

umul

atio

n be

cam

e G

roup

Pri

mar

y Acc

umul

atio

n whe

n pe

rfor

med

on

May

16,

197

3, i

n th

e pl

aza

of t

he M

cGra

w-H

ill

Bui

ldin

g on

the

occ

asio

n of

New

Yor

k's

Spr

ing

Dan

ce F

estiv

al. T

he m

idto

wn

audi

ence

, on

lun

ch b

reak

, cau

ght

on

to m

y ch

oreo

grap

hy's

log

ic;

to t

heir

surp

rise,

I a

rran

ged

for

two

mal

e da

ncer

s to

ente

r th

e pl

aza

and

lift

the

four

wom

en t

o ne

w l

ocat

ions

on

the

conc

rete

site

,

whi

le t

he d

ance

rs c

ontin

ued

the

chor

eogr

aphy

, un

arre

sted

. W

hen

pres

ente

d at

the

Wal

ker

Art

Cen

ter

on N

ovem

ber

9, 1

97 4

, an

othe

r pl

ane

for

mov

emen

t w

as

adde

d; t

he d

ance

was

per

form

ed o

n flo

atin

g ra

fts i

n th

e Lo

ring

Par

k la

goon

in th

e ra

in. T

his

envi

ronm

ent

intr

oduc

ed a

noth

er d

imen

sion

to

the

wor

k: t

he

rela

tions

hip

of t

he d

ance

rs t

o on

e an

othe

r an

d th

eir

orie

ntat

ion

in s

pace

was

dete

rmin

ed b

y th

e w

ater

's c

urre

nt,

whi

ch w

as d

icta

ted

by th

e w

ind.

The

vis

ual a

rt w

orld

foc

used

its

atte

ntio

n on

my

wor

k in

the

197

0s,

whi

ch l

ed

to m

y pe

rfor

min

g in

tern

atio

nally

in

such

site

s as

gal

lerie

s an

d m

useu

ms

(incl

ud­

ing

Gal

leria

L'A

ttico

in

Rom

e, S

onna

bend

Gal

lery

in N

ew Y

ork,

and

the

Mus

ee

J ] l

Gal

liera

in

Par

is),

on

prog

ram

s fe

atur

ing

cont

empo

rary

art

: m

usic

al, s

culp

tura

l,

and

conc

eptu

al.

But

, a

still

-wel

l-kep

t se

cret

of

the

time

is th

at,

in E

urop

e,

wor

ks m

ade

to b

e se

en i

n lo

fts a

nd o

ther

whi

te c

ubes

wer

e pr

esen

ted

on

the

pros

ceni

um s

tage

.

Span

ish

Dan

ce (

1973

) ac

com

pani

ed m

y fir

st f

oray

int

o th

e th

eate

r, t

he c

onve

n­

tiona

l fr

ame

for

danc

e in

our

tim

e. A

mai

nsta

y of

my

com

pany

tod

ay,

Span

ish

Dan

ce w

as t

hen

an a

nom

aly:

it w

as i

nspi

red

by th

e st

age'

s pr

osce

nium

arc

h,

the

boun

dary

con

tain

ing

its d

eadp

an p

rese

ntat

ion

of g

roup

loc

omot

ion,

and

was

per

form

ed w

ith a

rms

rais

ed i

n pr

oud

flam

enco

sty

le a

nd w

ith h

ips

sway

ing

rhyt

hmic

ally

to

Gor

don

Ligh

tfoot

's

1 965

"E

arly

Mor

ning

Rai

n,"

a ra

re in

stan

ce

whe

n m

usic

acc

ompa

nied

my

wor

k. S

pani

sh D

ance

cou

ld g

o on

for

ever

and

for

me

is s

tron

gly

conn

ecte

d to

my

com

pany

's o

ngoi

ng,

perip

atet

ic m

ovem

ent

from

city

to

city

on

tour

. T

oday

it

is p

rese

nted

on

its o

wn

and

in a

var

iety

of

cont

exts

.

Bet

wee

n 19

73 a

nd 1

976,

it

was

par

t of

a g

roup

of

wor

ks,

whi

ch a

lso

incl

uded

Stic

ks (

1973

) an

d F

igur

e Eig

ht (1

97 4

), th

at w

ere

perf

orm

ed s

ingl

y or

tog

ethe

r

as S

truc

ture

d P

iece

s, d

ance

s th

at e

ach

eman

ate

from

a s

ingl

e ru

le a

nd i

ts

perm

utat

ions

, pr

oduc

ing

grou

p ch

oreo

grap

hy d

isco

vere

d du

ring

the

cour

se

of p

erfo

rman

ce.

Afte

r th

e pr

emie

re o

f m

y A

ccum

ulat

ion

danc

es a

t th

e W

adsw

orth

Ath

eneu

m,

on D

ecem

ber

1, 1

972,

I w

as l

ooki

ng f

or a

new

dan

ce.

Pur

e m

ovem

ent

was

one

cont

ende

r. T

he s

econ

d w

as a

free

-whe

elin

g, s

emic

raze

d, n

ow-y

ou-s

ee-it

, no

w­

you-

don'

t, im

prov

isat

iona

l ap

proa

ch-t

he

one

I em

brac

ed w

hole

hear

tedl

y in

197

9.

How

ever

, th

e tw

o ca

me

toge

ther

in

Loc

us (1

975)

, w

hich

env

isio

ns t

he s

pace

arou

nd t

he b

ody

as a

cub

e de

finin

g th

e ch

oreo

grap

hy's

arc

hite

ctur

e. T

he c

ube

is m

arke

d w

ith i

mag

inar

y po

ints

, ea

ch i

dent

ified

with

one

let

ter

and

a di

git

cor­

resp

ondi

ng t

o th

e al

phab

et's

tw

enty

-six

le

tters

plu

s nu

mbe

r tw

enty

-sev

en,

the

cube

's a

nd t

he b

ody'

s ce

nter

. In

par

t, I w

as r

ethi

nkin

g R

udol

f La

ban'

s no

tatio

nal

effo

rt t

o m

ap th

e bo

dy's

har

mon

ious

mov

emen

t th

roug

h sp

ace-

his

kine

sphe

re­

as a

n in

dete

rmin

ate

chor

eogr

aphi

c fo

rmat

and

for

m.

With

Loc

us, I

wro

te t

he s

crip

t of

my

chor

eogr

aphy

thr

ough

my

biog

raph

y, s

pelle

d

out

in l

ette

rs e

quat

ed t

o nu

mbe

rs f

or t

he b

ody

to p

erfo

rm.

My

assi

gnm

ent

as a

danc

er w

as t

o to

uch

each

of

the

cube

's t

wen

ty-s

even

po

ints

in

spac

e to

spe

ll

out

that

sen

tenc

e ra

ndom

ly, w

ithou

t kn

owin

g w

hat

was

com

ing

next

or

whe

re

it w

as c

omin

g fr

om-y

et

rem

aini

ng i

n co

ntro

l. D

eriv

ed f

rom

str

uctu

red

impr

ovi­

satio

n, L

ocus

's m

ovem

ent

is s

et. T

he d

ance

is

com

plex

eno

ugh

even

with

the

expl

anat

ion

I sup

plie

d by

sho

win

g pe

ople

the

Loc

us s

core

, a d

raw

ing.

I w

ante

d

my

audi

ence

to

be c

onve

rsan

t w

ith m

y m

etho

ds.

I was

now

ide

ntifi

ed w

ith

Min

imal

ism

in

the

publ

ic's

min

d an

d ey

e.

In 1

979,

I a

dopt

ed t

he p

rosc

eniu

m s

tage

as

the

hom

e fo

r ne

w w

orks

, an

d to

day

I liv

e in

the

real

m o

f ch

oreo

grap

hy a

nd o

pera

, a p

ost-

stud

io w

orld

. H

owev

er m

y

art

allo

ws

me

to r

egul

arly

inh

abit

para

llel

univ

erse

s of

my

own

mak

ing-

not

one

in w

hich

I lo

ok b

ack

but

inst

ead

whe

re I

see

my

wor

k liv

e. W

hen

I mad

e th

e w

ork

on t

his

prog

ram

, I w

as f

asci

nate

d by

qua

litie

s of

ges

ture

tha

t ex

ist

on t

he e

dge

of m

emor

y, th

at a

re m

ade

perm

anen

t th

roug

h re

petit

ion.

The

tim

e of

rep

etiti

on i

n

perf

orm

ance

was

on

my

min

d-bu

t so

was

the

des

ire t

o im

bue

my

chor

eogr

aphy

with

str

uctu

re a

s th

e la

stin

g ar

chite

ctur

e fo

r m

y id

eas.

The

se w

orks

mad

e m

e th

e

artis

t I a

m, a

nd I

mad

e th

em t

o be

fore

ver

youn

g, to

con

tinue

to

be r

epea

ted.

P. S

. I c

lam

or t

o jo

in m

y fe

llow

art

ists

at

Dia

:Bea

con.

(

Bio

gra

ph

ies

Tri

sha

Bro

wn

was

bor

n an

d ra

ised

in A

berd

een,

Was

hing

ton.

She

gra

duat

ed

from

Mill

s C

olle

ge i

n 19

58,

stud

ied

with

Ann

a H

alpr

in,

and

taug

ht a

t R

eed

Col

lege

in

Por

tland

bef

ore

mov

ing

to N

ew Y

ork

City

in

1961

. In

stan

tly i

mm

erse

d

in w

hat

was

to

beco

me

the

post

mod

ern

phen

omen

a of

Jud

son

Dan

ce T

heat

er,

her

mov

emen

t in

vest

igat

ions

fou

nd t

he e

xtra

ordi

nary

in

the

ever

yday

and

cha

l­

leng

ed e

xist

ing

perc

eptio

ns o

f w

hat

cons

titut

ed

perf

orm

ance

. In

197

0, M

s.

Bro

wn

form

ed h

er c

ompa

ny a

nd m

ade

the

grou

ndbr

eaki

ng w

ork,

Man

Wal

king

Dow

n th

e S

ide

of a

Bui

ldin

g, o

ne o

f m

any

site

-spe

cific

w

orks

cre

ated

in,

aro

und,

and

hove

ring

over

the

stre

ets

and

build

ings

of

her

SoH

o ne

ighb

orho

od.

Her

firs

t

of m

any

colla

bora

tions

with

Rob

ert

Rau

sche

nber

g, G

laci

al D

ecoy

, pr

emie

red

in 1

979,

fol

low

ed b

y S

et a

nd R

eset

in 1

983

with

orig

inal

mus

ic b

y La

urie

And

erso

n. O

ther

col

labo

rato

rs h

ave

incl

uded

vis

ual a

rtis

ts N

ancy

Gra

ves,

Don

ald

Judd

, an

d T

erry

Win

ters

, as

wel

l as

com

pose

rs a

nd m

usic

ians

Pet

er Z

umm

o an

d

Dav

e D

ougl

as.

Bro

wn

has

crea

ted

near

ly o

ne h

undr

ed d

ance

wor

ks s

ince

196

1,

incl

udin

g se

vera

l ope

ras

and

is c

urre

ntly

at

wor

k on

a n

ew o

pera

tic e

veni

ng

feat

urin

g th

e m

usic

of

Jean

-Phi

lippe

R

amea

u. In

crea

sing

ly r

ecog

nize

d as

a v

isua

l

artis

t, he

r dr

awin

gs h

ave

been

exh

ibite

d in

gro

up a

nd s

olo

exhi

bitio

ns,

incl

udin

g

Doc

umen

ta

12 i

n K

asse

l, G

erm

any,

Sik

kem

a Je

nkin

s G

alle

ry (

2009

),

and

mos

t

rece

ntly

as

part

of

the

Yea

r of

Tris

ha-a

ce

lebr

atio

n of

her

ent

ire b

ody

of w

ork

at

the

Wal

ker

Art

Cen

ter

in M

inne

apol

is.

Bro

wn

was

the

firs

t w

oman

cho

reog

raph

er t

o re

ceiv

e th

e M

acA

rthu

r F

ound

atio

n

Fel

low

ship

. O

ther

hon

ors

incl

ude

the

Bra

ndei

s U

nive

rsity

's C

reat

ive

Art

s M

edal

in

Dan

ce, t

wo

John

Sim

on G

ugge

nhei

m F

ello

wsh

ips,

a N

ew Y

ork

Sta

te G

over

nor's

Art

s A

war

d, a

nd t

he N

atio

nal

Med

al o

f A

rt.

In 1

994

she

rece

ived

the

Sam

uel

H. S

crip

ps A

mer

ican

Dan

ce F

estiv

al A

war

d an

d sh

e ha

s be

en n

amed

a V

euve

Cliq

uot

Gra

nd D

ame.

Ms.

Bro

wn

was

nam

ed a

Che

valie

r da

ns l

'Ord

re d

es A

rts

et

des

Lettr

es b

y th

e go

vern

men

t of

Fra

nce

in 1

988,

ele

vate

d to

Offi

cier

in

2000

and

to C

omm

ande

ur i

n 20

04.

She

ser

ved

on t

he N

atio

nal

Cou

ncil

on t

he A

rts

from

199

4 to

199

7.

She

has

rec

eive

d nu

mer

ous

hono

rary

doc

tora

tes

and

is

an H

onor

ary

Mem

ber

of t

he A

mer

ican

Aca

dem

y of

Art

s an

d Le

tters

.

Dai

Jia

n w

as b

orn

in H

unan

Pro

vinc

e, C

hina

, and

gra

duat

ed f

rom

Bei

jing

Dan

ce

Aca

dem

y an

d G

uang

dong

AT

V P

rofe

ssio

nal

Aca

dem

y fo

r P

erfo

rmin

g A

rts

foun

ded

by M

adam

Yan

g M

eiqi

. In

1998

he

was

aw

arde

d S

econ

d P

rize

at t

he

Fou

rth

Nat

iona

l D

ance

Com

petit

ion.

He

danc

ed a

nd c

hore

ogra

phed

for

Jin

Xin

g D

ance

The

ater

and

Gua

ngzh

ou S

ong

& D

ance

Ens

embl

e in

Chi

na b

efor

e

beco

min

g a

mem

ber

of t

he S

hen

Wei

Dan

ce A

rts

in 2

005.

Dai

Jia

n jo

ined

the

com

pany

in

2008

.

Ele

na

Dem

yan

enko

is

a R

ussi

an-b

orn

grad

uate

of

the

Aca

dem

y of

The

atric

al

Art

s (M

osco

w)

and

has

been

dan

cing

, ch

oreo

grap

hing

, an

d te

achi

ng i

n N

ew

Yor

k C

ity s

ince

200

1. E

lena

was

a m

embe

r of

Ste

phen

Pet

roni

o C

ompa

ny f

rom

2003

to

2008

and

has

per

form

ed w

ith P

avel

Zus

tiak,

Lin

dsey

Die

tz M

arch

ant,

and

Jim

ena

Paz

, and

in

Mar

tha

Cla

rke'

s G

arde

n of

Ear

thly

Del

ight

s. S

he w

as t

he

reci

pien

t of

EM

PA

C D

ance

Mov

ies

Com

mis

sion

in

2007

. S

he jo

ined

the

com

­

pany

in J

une

of 2

009.

Iren

e H

ult

man

, a

nativ

e of

Sw

eden

, dan

ced

with

Tris

ha B

row

n D

ance

Com

pany

from

198

3 to

198

8 an

d fo

rmed

Ire

ne H

ultm

an D

ance

in

1988

. She

has

chor

eogr

aphe

d se

vera

l ope

ras

and

rece

ived

com

mis

sion

s in

clud

ing

Got

henb

urg

Ope

ra B

alle

t an

d R

oyal

Ope

ra H

ouse

of

Sw

eden

. S

he is

the

rec

ipie

nt o

f a

Gug

genh

eim

Fel

low

ship

, a

Fou

ndat

ion

for

Con

tem

pora

ry P

erfo

rman

ce A

rts

Aw

ard,

ser

ves

on D

ansp

ace

Pro

ject

's A

rtis

t A

dvis

ory

Boa

rd,

and

has

been

a

mem

ber

of t

he B

essi

e C

omm

ittee

.

Hyu

n-J

in J

un

g is

from

Pus

an, S

outh

Kor

ea, w

here

he

earn

ed a

deg

ree

in

chor

eogr

aphy

fro

m t

he K

orea

n N

atio

nal

Uni

vers

ity o

f A

rts,

Sch

ool

of D

ance

. He

perf

orm

ed t

hrou

ghou

t E

urop

e be

fore

mov

ing

to N

ew Y

ork

in 2

003.

He

join

ed

Tris

ha B

row

n D

ance

Com

pany

in

Oct

ober

200

4.

Car

oly

n L

uca

s ha

s be

en a

mem

ber

of t

he T

risha

Bro

wn

Dan

ce C

ompa

ny s

ince

1984

. In

1993

she

was

app

oint

ed C

hore

ogra

phic

Ass

ista

nt,

and

sinc

e th

en

has

been

inv

olve

d w

ith t

he c

reat

ion

of B

row

n's

wor

ks i

n da

nce

and

oper

a. S

he

atte

nded

the

Nor

th C

arol

ina

Sch

ool

of t

he A

rts

and

rece

ived

a B

FA

fro

m S

UN

Y

Pur

chas

e in

198

4.

Dia

ne

Mad

den

joi

ned

the

Com

pany

in

1980

. Reh

ears

al D

irect

or f

rom

1984

-200

0,

Dia

ne e

njoy

s ke

epin

g a

rich

rang

e of

cho

reog

raph

y al

ive

with

a gr

oup

of v

ery

tale

nted

dan

cers

. H

er m

ajor

inf

luen

ces

are

Tris

ha a

nd h

er

colla

bora

tors

in

impr

ovis

atio

n, m

ost

nota

bly

the

mem

bers

of

Cha

nnel

Z.

Dia

ne

has

rece

ived

tw

o P

rince

ss G

race

Aw

ards

and

a B

essi

e.

Lea

h M

orr

iso

n jo

ined

the

com

pany

in

2005

. S

he i

s fr

om S

t. Lo

uis,

whe

re s

he

bega

n da

ncin

g w

ith L

ee N

oltin

g at

the

Cen

ter

of C

onte

mpo

rary

Art

s. S

he g

radu

­

ated

fro

m S

UN

Y P

urch

ase.

In

2008

, M

orris

on w

as s

elec

ted

as a

Prin

cess

Gra

ce

Hon

orar

ium

Rec

ipie

nt a

nd r

ecei

ved

a N

ew Y

ork

Dan

ce a

nd P

erfo

rman

ce B

essi

e

Aw

ard

for

her

perf

orm

ance

of

Bro

wn'

s If

You

Cou

ldn'

t S

ee M

e.

Tam

ara

Rie

we

bega

n he

r da

nce

trai

ning

in

Sea

ttle

at t

he U

nive

rsity

of

Was

hing

ton.

S

he t

rans

ferr

ed t

o S

alt

Lake

City

and

in

2001

ear

ned

a B

FA

in M

oder

n D

ance

fro

m t

he U

nive

rsity

of

Uta

h.

She

has

wor

ked

with

Dan

iel

Cha

ron,

with

Kei

th J

ohns

on (

LA),

as

a m

embe

r of

Bill

You

ng/C

olle

en

Tho

mas

and

Dan

cers

, an

d w

ith D

oug

Var

one

at t

he M

etro

polit

an O

pera

. She

join

ed t

he

Com

pany

in

2006

.

To

dd

Law

ren

ce S

ton

e ha

s da

nced

with

Ire

ne H

ultm

an D

ance

Com

pany

and

Wil

Sw

anso

n. H

e ha

s al

so w

orke

d w

ith P

earl

Lang

Dan

ce C

ompa

ny,

Bill

T.

Jone

s/ A

rnie

Zan

e D

ance

Com

pany

, and

Net

a P

ulve

rmac

her

and

Dan

cers

. Sto

ne

grad

uate

d fr

om S

UN

Y P

urch

ase

in 1

995

with

a B

FA

in

danc

e. H

e cu

rren

tly

stud

ies

with

Jun

e E

kman

. Tod

d jo

ined

Tris

ha B

row

n D

ance

Com

pany

in

1998

.

Nic

ho

las

Str

afac

cia

grew

up

outs

ide

of M

inne

apol

is,

Min

neso

ta,

and

bega

n

his

trai

ning

and

pro

fess

iona

l ca

reer

with

the

Min

neso

ta D

ance

The

atre

und

er

the

dire

ctio

n of

Lis

e H

oulto

n. S

traf

acci

a ho

lds

a B

FA

fro

m N

YU

's T

isch

Sch

ool

of t

he A

rts

and

has

perf

orm

ed w

ith s

uch

.cho

reog

raph

ers

as G

eral

d C

asel

and

Che

ryly

n La

vagn

ino.

He

join

ed t

he T

risha

Bro

wn

Dan

ce C

ompa

ny i

n Ju

ne 2

009.

Lau

rel

Ten

tin

do

gre

w u

p an

d be

gan

danc

ing

in V

erm

ont.

She

gra

duat

ed f

rom

Sar

ah L

awre

nce

Col

lege

and

has

dan

ced

with

Sar

a R

udne

r, V

icky

Shi

ck, a

nd t

he

Liz

Lerm

an D

ance

Exc

hang

e. S

he s

tudi

es t

he A

lexa

nder

Tec

hniq

ue w

ith J

une

Ekm

an a

nd i

s a

Ski

nner

Rel

easi

ng t

each

er.

T en

tindo

joi

ned

the

Tris

ha B

row

n

Dan

ce C

ompa

ny i

n 20

08.

Sam

uel

vo

n W

entz

, a

nativ

e of

Nor

th D

akot

a, h

as w

orke

d an

d st

udie

d w

ith

Ger

ald

Cas

el, w

hom

he

met

whi

le h

e w

as c

ontin

uing

his

aca

dem

ic a

dven

ture

at

NY

U T

isch

. H

e jo

ined

the

Com

pany

in

June

of

2009

and

enj

oys

jigsa

w p

uzzl

es

and

orig

ami.