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À bras le corps
Boris Charmatz
R1R2
Bouside Ait Atmane
Two Ecstatic Themes
Doris Humphrey
Pavlova 3’23”
CN D – Centre national de la danse
Déserts d’amour [solo]
Dominique Bagouet
Boléro (1962)
Maurice Béjart
Admiring la Argentina
Kazuo Ohno , Tatsumi Hijikata
ELEMENTEN I – Room
Cindy Van Acker
Le Lac des Cygnes (acte II)
Andy De Groat
Cinderella
Maguy Marin
Professor
Maud Le Pladec
Paradis
Dominique Hervieu , José Montalvo
Récital
Mourad Merzouki
d’après une histoire vraie
Christian Rizzo
Cellule
Nach
El final de este estado de cosas, redux
Israel Galván
The chance
Loïc Touzé
Sanctum – Imago
Alwin Nikolais
Watermotor
Trisha Brown
Éloge du puissant royaume
Heddy Maalem Heddy Maalem
Giselle
Yvette Chauviré , Jean Coralli , Florence Clerc , Jules Perrot
May B (2016)
Maguy Marin
Le Lac des Cygnes – Acte II
Natalia Makarova , Marius Petipa , Lev Ivanov
Pororoca
Lia Rodrigues
Trio A
Yvonne Rainer
Trio A
Trio A, a solo dance by Rainer, was initially performed in 1966 as a trio by Rainer and fellow New York choreographer-dancers David Gordon and Steve Paxton under the title The Mind is a Muscle, Part 1. At the premiere, at Manhattan’s Judson Memorial Church, the dancers each performed the same sequence of movements twice but not in unison, accompanied by the sound of wooden slats being thrown from the balcony one by one. Since then it has been presented in various forms, sometimes integrated into other pieces by Rainer or adapted and interpreted by other choreographers. This film depicts Rainer’s solo performance of the work in 1978, several years after she transitioned from choreography to filmmaking.
Trio A consists of a four-and-a-half-to-five-minute sequence of discrete movements that, with the exception of walking, are never repeated. Although it appears effortless, the dance is painstaking to learn in its precise articulation of hands, arms, shoulders, feet, and legs. It is a signature work by Rainer, who in the 1960s transposed to dance the ideas that were then giving shape to the era’s Minimalist sculpture and painting, abandoning the aesthetics of classical and modern dance—which were rooted in virtuosic technique and expression—in favor of an unenhanced physicality and uninflected continuity of motion. The deceptive “ordinariness” of many of the individual movements in Trio A had a profound impact on the development of postmodern dance.
Source: Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)
More information: www.moma.org