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Practicing Trio A

Practicing Trio A Yvonne Rainer. The Mind Is a Muscle, Part I (Trio A). 1973. Practicing Trio A JULIA BRYAN-WILSON Walk On This is a text about embodiment and presence, about specters and time. It is about tempo, about slowness, about pacing, about duration, about counting, about the routines we give ourselves to make it through hard times. It is about “going through the motions.” It is, more specifically, about the endurance—one could say haunting—of a single set of motions, routines, and gestures: Y vonne Rainer’s Trio A. Choreographed over a six-month span in 1965, and first performed in 1966, the dance has been understood as inaugurating a new field of practice that embraced laconic movements and ordinary bodies, and helped usher in postmodern, task-based dance.1 In addition, Trio A has refigured what it means to talk about the medium—or mediums—of contemporary art. Though many are familiar with this now-canonical work, here is some basic descriptive ground: in Trio A the performers—often a mix of dancers and nondancers—generally wear normal street clothes, usually dance without musical accompaniment, and perform the same movements together, but not in unison.2 The sequence of unpredictable actions, ones that disregard dance conventions of phrasing and climax, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Practicing Trio A

October , Volume Spring 2012 (140) – May 1, 2012

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Publisher
MIT Press
Copyright
© 2012 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/OCTO_a_00089
Publisher site
See Article on Publisher Site

Abstract

Yvonne Rainer. The Mind Is a Muscle, Part I (Trio A). 1973. Practicing Trio A JULIA BRYAN-WILSON Walk On This is a text about embodiment and presence, about specters and time. It is about tempo, about slowness, about pacing, about duration, about counting, about the routines we give ourselves to make it through hard times. It is about “going through the motions.” It is, more specifically, about the endurance—one could say haunting—of a single set of motions, routines, and gestures: Y vonne Rainer’s Trio A. Choreographed over a six-month span in 1965, and first performed in 1966, the dance has been understood as inaugurating a new field of practice that embraced laconic movements and ordinary bodies, and helped usher in postmodern, task-based dance.1 In addition, Trio A has refigured what it means to talk about the medium—or mediums—of contemporary art. Though many are familiar with this now-canonical work, here is some basic descriptive ground: in Trio A the performers—often a mix of dancers and nondancers—generally wear normal street clothes, usually dance without musical accompaniment, and perform the same movements together, but not in unison.2 The sequence of unpredictable actions, ones that disregard dance conventions of phrasing and climax,

Journal

OctoberMIT Press

Published: May 1, 2012

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