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From the exhibition Robert Rauschenberg: Among Friends, running through September 17 at the Museum of Modern Art: Trisha Brown, “Glacial Decoy,” 1979. With costumes, set, and lighting (with Beverly Emmons), by Robert Rauschenberg. From performances by the Trisha Brown Dance Company at the Marymount Manhattan College Theater, New York, June 20–24, 1979. Left to right: Trisha Brown, Nina Lundborg, and Dance Insider contributor Lisa Kraus. (See below for Kraus on setting Brown’s “Glacial Decoy” on the Paris Opera Ballet.) Photograph: Babette Mangolte © 1979 Babette Mangolte. (All Rights of Reproduction Reserved) Courtesy Museum of Modern Art.
By Paul Ben-Itzak, with contribution by Lisa Kraus
Copyright 2003, 2017, Paul Ben-Itzak & Lisa Kraus
PARIS — Why does Trisha Brown have to cross the Atlantic Ocean to find a major ballet company to undertake her choreography? Why does New York City Ballet refuse to look below 42nd Street for additions to its repertoire, instead padding its Balanchine and Robbins legacy with filler from Peter Martins and others? I fumed over these questions last week at the Palais Garnier, as I exalted over the Paris Opera Ballet’s breathless interpretations of two newly acquired American masterpieces, Brown’s 1979 “Glacial Decoy,” with photography, sets, and costumes by Robert Rauschenberg, and Balanchine’s 1960 “Liebeslieder Walzer,” to Brahms.
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