After Trio A (2010) Andrea Bozic

Credits After Trio A: Concept/choreography: Andrea Bozic Video/concept: Julia Willms Music, sound installation and live performance: Robert Pravda Dance: Original performance made in collaboration with dancers Dereck Cayla and Neda Hadji-Mirzaei Performed by: Dereck Cayla and Neda Hadji-Mirzaei at the Cover#2 Festival, Frascati, Amsterdam, NL Christian Guerematchi and Michael Jahoda at the ICKEvent, Frascati, Amsterdam, NL, Iva Hladnik and Sonja Pregrad at the Dance Week Festival, Plesni Centar, Zagreb, HR Light design: Henk Danner Production: Tanja Hendriks, ICKamsterdam Produced by ICK Amsterdam in co-production with the Frascati, commissioned and co-produced by Cover#2 Title of the original piece: Trio A (1966) and No manifesto (1965) Choreographer: Yvonne Rainer Project description: ‚NO to spectacle. No to virtuosity. No to transformations and magic and make-believe.’ (From the No Manifesto, Yvonne Rainer, 1965) After Trio A is based on Yvonne Rainer’s minimal dance piece Trio A (1966) and the No Manifesto (1965) written alongside of it. Trio A reduced dance to its essentials and is considered one of the beginnings of postmodern dance. It was originally a part of the whole evening called The Mind Is A Muscle. A Judson Church member, Rainer turned the current conventions of dance and the perception of body upside down, saying ‘dance is hard to see’: ‘If my rage at the impoverishment of ideas, narcissism, and disguised sexual exhibitionism of most dancing can be considered puritan moralizing, it is also true that I love the body – it’s actual weight, mass, and unenhanced physicality. It is my overall concern to reveal people as they are engaged in various kinds of activities – alone, with each other, with objects...’ (Yvonne Rainer, Statement, 1968)

After Trio A is not a re-staging of Trio A but a dialogue with it. Two dancers are asked to learn a part of the original Trio A phrase live on stage, without any previous knowledge of it. They do it in front of the audience, learning from a recording of the original piece played on a TV monitor, within the course of one hour. The audience observes the learning process: watching becomes learning, learning becomes virtuosity, task-like activity becomes a dance, knowledge becomes power, history becomes present, body becomes political, the non-spectacular becomes strangely spectacular.

Sign up to vote on this title
UsefulNot useful