It also interferes with “The Decoy Project,” conceived by Carolyn Lucas, the group’s associate artistic director, and Scott, which also includes colleagues Campbell, Fulmer and Amanda Kmett’Pendry, as well as guest dancers Hadar Ahuvia, Raven, Blue , Jennifer Payán and Hsiao-Jou Tang. In this work the dancers wear masks in contrast to the others.
“The Decoy Project” takes inspiration from Brown’s groundbreaking “Glacial Decoy” (1979), her first work for the proscenium, in which four dancers sweep the stage in a way that gives the impression that there is more to the work. Over time, Brown himself reconfigured the choreography of “Glacial Decoy” to adapt it to different rooms. In 1980 she created a version of it for a performance at 55 Crosby Street; She also arranged a version of it for WNET’s “Dance in America” series on a show called “Beyond the Mainstream,” which aired on public television that year.
The new arrangement, described in the program as “a connection between an adaptation of the work Trisha created for WNET and the original form” Glacial Decoy “”, includes entrances and exits from both sides of the frame while playing with the depth of the space becomes.
While it sometimes glides along wonderfully – at one memorable moment, Scott and Tang crash breast first into each other – the overall presentation seems dizzying when the camera changes perspective. “Glacial Decoy” is about seeing the width of the stage. Sometimes “The Decoy Project” feels constrained by its editing and perspective, more laborious than smooth.
But it is worth seeing for the dancers. The expanded cast was deployed in response to the pandemic; It was a way to get more dancers into the studio. Seeing these various bodies move in and out of Brown’s choreographic web speaks of determination, joy, and grit – it dances in troubled times.
Trisha Brown Dance Company
Until May 12th on JoyceStream; joyce.org
