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One of the male solos is all from her body and it’s all this birdlike imagery. We use those cues now to better understand when it’s not adequately notated what she chose and why.

Trisha’s whole working process from the mid to late ’80s has been captured on video—there’s this really rich archive of all of that work and hearing her gasp when something really magical happens followed by this Ohhhhh! She’s a taskmaster and always has been of creating these machines that deliver perhaps an unexpected result/product, but in the end there is still this mysterious selection process.

But it never felt heavy once that physical experience was unlocked.

So I did that monthlong process—then there were six, and then there were four.

The physics of the work are really fascinating to me. Di, as a teacher, is able to really unlock new physical experiences where suddenly you understand that she’s not giving you detail for detail’s sake, but she’s aiming at honoring a kinetic principal that is housed inside of those details.Life is funny: Neal Beasley grew up on a farm in Mississippi, but the reason he started dancing was Janet Jackson. Neal Beasley: A big group of us actually came to Tisch together. The bulk of the program is spent in rehearsal with your peers, and that’s the way it’s been designed. Trisha’s company held an audition process that was a workshop period where they would look at ten or so dancers for a month. I remember there was a turning point in that audition process where I realized something within the work had the space for me to make a home for myself in my body. And also it had a lot of room for me to continue to learn.At the age of six, he memorized the choreography from “Rhythm Nation.” A prodigious talent, Beasley first encountered Trisha Brown’s choreography at NYU’s Tisch School of the Arts. I started ballet, modern and jazz in that program right away and was also dancing at your average Dolly Dinkle at night doing tap and lyrical. Having Eleanor there and meeting Beth Gill—we made duets together in college. We’ve always had a close artistic partnership in that sense. When I stepped over that edge of realizing that this was new physical terrain for me, and it wasn’t going to demand the same kind of effort that perhaps I felt most comfortable exerting—it felt like my experience in it could deepen over time. I didn’t really know the work, nor was I smitten by what I had seen.Time Out New York: What was it like working with Trisha in the beginning? She was dancing, and we would spend hours watching her body move.She’s not going to accept the first thing that comes out of your body, but the thing she will often choose is what makes her laugh, which I love.

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