Abstract
This paper discusses Roof/Roof Piece, an adaptation of Trisha Brown's Roof Piece by Trisha Brown Dance Company and perch a dance made by Amy Voris and adapted by Voris and Katye Coe for Coe to perform in her home and online. Both these adaptations began during the Covid-19 pandemic, in contexts when the artists could not meet in person. I consider the role that the scores played in facilitating these shared practices, asking how they allowed for the development and continuation of bonds between members of dance communities during this period.
Highlights
This paper discusses Roof/Roof Piece, an adaptation of Trisha Brown’s Roof Piece by Trisha Brown Dance Company and perch a dance made by Amy Voris and adapted by Voris and Katye Coe for Coe to perform in her home and online
I am witnessing perch, a dance made by dance artist Amy Voris between 2014-19 and adapted for Coe to perform in her house and online during the Covid-19 pandemic
The online circulation of Room/Roof Piece and perch resonate with Bench’s articulation of the way that dance-media both enables and makes visible movement “in common.”[85]. Bench describes how reproducing gestures can “articulate a form of gestural belonging” and “offer a shared sense that gives meaning to a common world supportive of social or communal interaction.” 86 These scores allow for the transmission and adaptation of dance works and practices through instruction that can be interpreted by each artist or group of artists who choose to enact the score
Summary
This paper discusses Roof/Roof Piece, an adaptation of Trisha Brown’s Roof Piece by Trisha Brown Dance Company and perch a dance made by Amy Voris and adapted by Voris and Katye Coe for Coe to perform in her home and online. Very different in many ways, Room/Roof Piece and the adaptation of perch both use scores as a means to share and adapt the works.
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