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FREEING DANCE FROM THE WEB: ON COLLABORATION, TRISHA BROWN'S SET AND RESET AND LUCINDA CHILDS' AVAILABLE LIGHT

IN 458 B.C., WHEN AESCHYLUS presented the Oresteia in the Theater of Dionysus at Athens, he wrote the librettos (what we call the “plays”); composed the music for instruments, chorus, and solo arias; designed the costumes and stage equipment; choreographed the dance; directed the actors and chorus, and played the main role himself. It seemed totally natural to him to take all that on. In the old days (as Homer noted) men could lift and hurl boulders ten times greater than those we can lift now. Today, lesser heroes, as Homer would say, we seek the well-rounded performance through collaborations. And collaborations were what this year’s “Next Wave” festival at the Brooklyn Academy of Music was all about. The inside front cover of the catalogue tells the story: photographs of Robert Rauschenberg, Laurie Anderson, and Trisha Brown, collaged together by Rauschenberg into an Interview magazine

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