idalia buddington

Invited back to Ste. Baume in 1979, she [Trisha Brown] created Glacial Decoy in collaboration with the painter Robert Rauschenberg, whose work was being exhibited at the Museum of Modern Art of Toulon. The arrival of a set in Trisha Brown's work thus happened in a totally natural manner. It was not a real set, but rather projections of black and white photographs. During it's second run, in the autumn, in a 'real' theater at the Pompidou Center, the dance took on its full dimension and found its raison d'être. Engaged to dance in traditional proscenium theaters, Trisha Brown, for whom the stage is only an anonymous draught, wanted to define the space using Rauschenberg's mobile images.

A game of visible and invisible, Glacial Decoy plays hide and seek with the spectators' field of vision, through the photos that interfere with the dances visual impact, the wings where each performer in turn continues to dance in relation to the three other dancers remaining on stage, and finally through the costumes whose transparency reveals the shape of the body. The images give the illusion of a natural environment, an idea to which Rauschenberg returned for Set and Reset, this time projecting some films on pyramidal structures. (Brunel, 12)

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*for Jordan;

Q: How can the dancer's interaction with the frame of the Main Stage be visually enhanced by the architectural set?

Bob [Robert Rauschenberg] designed an overhead structure named Elastic Carrier (shiner). The central form is a large rectangular box made of transparent white fabric stretched over an aluminum frame with two slanted internal panels. At either side of the box, a pyramidal form made of identical materials is attached. Four films of black-and-white stock footage -- each film edited by Bob -- are projected simultaneously on the structure, their images refracting as they pass through the planes of gauze.

Rauschenberg explains his intention for building such structures::

With their large presence on stage "hopefully [they] will diffract and register changing distortions of images in a mix to provide a hovering environment for the dance.' The images that Rauschenberg projected are quick snippets of environmental material and designs: car tires, gasoline trucks, cows, coiled bed springs, barbed wire, chain-linked fences. The pictures create a collage of sorts, which is replicated in the designs and patterns painted on the translucent costumes the dancers wear. Visually, the set and costumes form a noticeable relationship that displays the dancer's connection to the larger environment around them. The shared textures and imagery between the set and costumes also creates an aesthetic for the piece that highlight's Brown's collage-like arrangement of movement. (Phaelon, 18-19)

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