Trisha Brown’s major work of post-modern dance Set and Reset will be performed for the first time by the London-based dance company Rambert, who will showcase the fluid and unpredictable style of Brown's original choreography.
In Set and Reset Brown worked with a process of memorised improvisation that layered phrases and timing to create an intricate piece of choreography. Like the original production, the piece features the original music composed by Laurie Anderson, lighting design by Beverly Emmons, and the stage-set and costumes by Robert Rauschenberg, who were all key collaborators on the project. Reflecting on the piece Brown stated that Set and Reset was defined by ‘metamorphic relationships; relationships between figures both plastic and organic; about space, both physical and aural’.
The Copyrights in all works performed on this program are the property of Trisha Brown - All Rights Reserved.
Rambert believes that to give brilliant and daring people the chance to inspire others, is to give them the power to move the world forward. Britain's oldest dance company is also one of the world’s most diverse and forward looking. They transform everyday spaces by making dance that is awe-inspiring, adventurous, dynamic and relevant and taking it to our neighbourhood, the nation and the world. Rambert want to hear the most exciting and radical ideas wherever they may come from and to connect with brilliant and daring audiences and participants from all backgrounds. They deliver inspiration, ambition and belief, through performance; dance and wellness classes for people of all ages and abilities; and outreach and community initiatives.
These performances are part of Dance Reflections by Van Cleef & Arpels festival running across London from 9–23 March 2022. Built on the values of creation, transmission and education, this wide-reaching celebration of choreography features 17 modern and contemporary dance performances highlighting both major repertoire works and new productions.
PRODUCTION MANAGER Steve Wald
Chief Executive Helen Shute
Artistic Director Benoit Swan Pouffer
Director of Producing Francesca Moseley
Rehearsal Director Jason Kittelberger
Interim Produceer Louise Farnall
Technical Stage manager Holly Gould
Productions Administrator Phoebe Peel
Head of Costume Richard Gellar
Costume Lucy Pandza, Natalie Khoo
Rambert is inspired by the belief that to give brilliant and daring people the chance to inspire others is to give them the power to change the world for the better.
As one of the world’s most diverse companies of dancers, Rambert transforms everyday spaces by making dance that is awe-inspiring, adventurous, dynamic and relevant, and taking it to its neighbourhood, the nation and the world. Rambert wants to hear the most exciting and radical ideas wherever they may come from and connect with brilliant and daring audiences and participants from all backgrounds. Through performances; dance and wellness classes and courses for people of all ages and abilities; and outreach and community initiatives, Rambert wants to ensure it is inspiring, engaging and relevant to everyone.
Rambert is a National Portfolio Organisation of Arts Council England.
Trisha Brown (Choreographer) was one of the most acclaimed and influential choreographers and dancers of her time With the founding of the Trisha Brown Dance Company in 1970, Brown set off on her own distinctive path of artistic investigation and ceaseless experimentation. The creator of over 100 choreographies, six operas, and a graphic artist, whose drawings have earned recognition in numerous museum exhibitions and collections, Brown’s earliest works took impetus from the cityscape of downtown SoHo in New York. In the 1970s, as Brown strove to invent an original abstract movement language – one of her singular achievements – it was art galleries, museums and international exhibitions that provided her work its most important presentation context. A major turning point in Brown’s career occurred in 1979, when she transitioned from working in non-traditional and art world settings to assume the role of a choreographer working within the institutional framework associated with dancing – the proscenium stage.
In her lifetime Trisha Brown was the recipient of nearly every award available to contemporary choreographers and was the first woman to receive the coveted MacArthur ‘Genius’ Grant (in 1991). and iIn 2011, Brown received the prestigious Dorothy and Lillian Gish Prize for making an ‘outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life.'
Laurie Anderson (Composer) is a writer, director, visual artist and vocalist who has created groundbreaking works that span the worlds of art, theater, experimental music, and technology. Her recording career, launched by ‘O Superman’ in 1981, includes the soundtrack to her feature film Home of the Brave (1986) and Life on a String (2001). Anderson's live shows range from simple spoken word to elaborate multi-media stage performances such as Songs and Stories for Moby Dick (1999). In 2002, Anderson was appointed the first artist-in-residence of NASA which culminated in her 2004 touring solo performance The End of the Moon. In 2010 a retrospective of her visual and installation work opened in Sao Paulo, Brazil and later traveled to Rio de Janeiro. Her film Heart of a Dog was chosen as an official selection of the 2015 Venice and Toronto Film Festivals. In the same year, her exhibition Habeas Corpus opened at the Park Avenue Armory to wide critical acclaim and in 2016 she was the recipient of Yoko Ono’s Courage Award for the Arts for that project. Anderson lives in New York City. Anderson continues to tour her evolving performance Language of the Future and has collaborated with Christian McBride and Philip Glass on several projects in 2017. Anderson continues to work with the activist group The Federation which she co-founded in 2017. In February of 2018 Landfall, a collaboration between Anderson and Kronos Quartet was released through Nonesuch Records. Commissioned by Kronos Quartet in 2013, the work was inspired by the devastating effects of Hurricane Sandy. Most recently Anderson opened her largest solo exhibition at The Smithsonian's Hirshhorn Museum in Washington D.C. titled The Weather which is open through July 31, 2022. The Weather debuts more than a dozen new artworks, interspersed with select key works, including Habeas Corpus (2015), from her five-decade career. The exhibition guides visitors through an immersive audiovisual experience, showcasing the artist’s creative storytelling process through her work in video, performance, installation, painting, and other media.
Beverly Emmons (Lighting Designer) has designed for Broadway, Off Broadway and Regional Theater, Dance and Opera both in the USA and abroad. Her Broadway credits include Annie Get Your Gun, Jekyll & Hyde, The Heiress, Chronicle of a Death Foretold, Stephen Sondheim’s Passion, Abe Lincoln in Illinois, High Rollers, Stepping Out, The Elephant Man, A Day in Hollywood/A Night in the Ukraine, The Dresser, Piaf and Doonesbury. Her lighting of Amadeus won a Tony award. Off Broadway she lit Vagina Monologues and has designed many productions with Joseph Chaikin and Meredith Monk. For Robert Wilson, she has designed lighting for productions spanning 13 years, most notably in America, Einstein on the Beach and the Civil Wars Pt V. Emmons’ designs for dance have included works for Trisha Brown, Martha Graham and Merce Cunningham. She has been awarded seven Tony nominations, the 1976 Lumen award, 1984 and 1986 Bessies, and a 1980 Obie for Distinguished Lighting, and several Maharam/American Theater Wing Design Awards.
Robert Rauschenberg (Visual Design) was born in Port Arthur, Texas. Following his discharge from the United States Navy in 1945, he began his formal art education at the Kansas City Art Institute and later at Black Mountain College in North Carolina. He moved to New York in 1949 and had his first solo exhibition there at the Betty Parsons Gallery in 1951 and his first retrospective exhibition at the Jewish Museum in 1963. The following year, he received the Grand Prize for Painting at the Venice Biennale. He worked in the performing arts since the 1950s as a set, costume, and lighting designer for various choreographers including Trisha Brown, Merce Cunningham, and Paul Taylor. The Smithsonian Institution, Washington, DC, organized a mid-career retrospective in 1976. His work was celebrated with a major travelling retrospective exhibition organized by the Solomon R. Guggenheim Museum in 1997 and his first posthumous retrospective opened at the Tate Modern, London in 2016 before traveling to The Museum of Modern Art, New York and the San Francisco Museum of Modern Art. Throughout his life Rauschenberg approached his art with a spirit of invention and a curiosity for new materials, technologies, and ideas.
Trisha Brown Dance Company Dancers and Artistic Staff
Carolyn Lucas (Associate Artistic Director) attended North Carolina School of the Arts and graduated with a BFA in dance from SUNY Purchase before joining Trisha Brown Dance Company in 1984. Lucas originated roles in some of Brown’s most acclaimed works including Lateral Pass 1983, Carmen 1986, Newark (Niweweorce) 1987, Astral Convertible 1989, Foray Forêt 1990 and Astral Converted 1991. In 1993, Brown appointed Lucas as her Choreographic Assistant, a position Lucas held for twenty years before being named Associate Artistic Director in 2013. As Choreographic Assistant, Lucas played an integral role in Brown’s creation process in dance and opera, working closely alongside Brown for pieces including Brown’s final work for the Company, I’m going to toss my arms- if you catch them they’re yours 2011 which premiered at Théâtre National de Chaillot in Paris. In addition to assisting with new choreography, directing Company rehearsals and restaging existing choreography on the current dancers, Lucas has led projects for companies and institutions around the world, including The New School in NYC, P.A.R.T.S. in Brussels and Paris Opera Ballet. She was one of the first instructors Brown sent to P.A.R.T.S. to construct a Set and Reset/Reset, whose collaborative, interdisciplinary learning process is now a cornerstone of the Company’s education program. Lucas is currently sharing her firsthand knowledge of three decades of dancing, teaching and documenting Brown's work for the Trisha Brown Archive. She studies Tai Chi with Maggie Newman and Alexander Technique with June Ekman.
Jamie Scott works as a dancer, teacher and stager in New York City. She began dancing with the Trisha Brown Dance Company in 2012. A graduate of Barnard College, she went on to dance with the Merce Cunningham Dance Company after college, joining the Repertory Understudy Group in 2007 and the company in 2009. She has worked with Daniel Gwirtzman, Kimberly Bartosik, Bill Young, and currently works with Liz Gerring. Recent teaching credits include Barnard College (Fall 2018) and University of North Carolina School of the Arts (Spring 2019). In addition, Jamie teaches technique and repertory for both the Trisha Brown Dance Company and the Merce Cunningham Trust, most recently co-staging Merce’s Scenario on the Lyon Opera Ballet. She is the recipient of a 2014 Princess Grace Award.
Marc Crousillat is a dancer and filmmaker living in New York City. He has performed in the works of Tere O’Connor, Netta Yerushalmy, John Jasperse, Gerard & Kelly, and Wally Cardona & Jennifer Lacey. He performed in the Bessie award-winning Night of 100 Solos as part of the Merce Cunningham Centennial at Brooklyn Academy of Music, and most recently made his Broadway debut in the Ivo van Hove and Anne Teresa De Keersmaeker reimagining of West Side Story. He is the recipient of a Princess Grace Award: Dance Fellowship, was listed in Dance Magazine’s 25 to Watch, and is currently represented by Clear Talent Group. He has shown his own work throughout New York City and has taught extensively and re-staged works for the Trisha Brown Dance Company and Netta Yerushalmy. He has been a member of the Trisha Brown Dance Company since 2014.
Tate Modern's entrance is via the Turbine Hall on Holland Street. There are automatic sliding doors and a ramp down to the entrance.
The performance is in the South Tank on Level 0 of the Blavatnik building. There is loud music and low light levels in the performance space.
Seating will be on the floor with cushions with a small group of chairs available. Please contact Ticketing@tate.org.uk for specific seating.
- Fully accessible toilets are located on every floor on the concourses.
- A quiet room is available to use in the Natalie Bell Building on Level 4.
- Ear defenders can be borrowed from the Ticket desks.
To help plan your visit to Tate Modern, have a look at our visual story. It includes photographs and information of what you can expect from a visit to the gallery.
Download the visual guide to this performance and its related display.
For more information before your visit:
Call +44 (0)20 7887 8888 – option 1 (daily 09.45–18.00)