Trisha Brown Dance


In Trisha Brown Dance Company master classes, core principles of Trisha’s work—whether aesthetic, compositional, or kinetic—are taught via the creative and physical practices of past and current company members.

Each teacher offers a unique focus and range of personal experience related to their understanding of Trisha’s choreographic sensibility, with the goal of empowering students in their artistic pursuits.


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  • Elena Demyanenko

    Elena Demyanenko is a Russian-born graduate of the Academy of Arts (Moscow). Elena has had the honor of working with Stephen Petronio from 2003-2008, Martha Clarke, Pavel Zustiak, Lindsey Dietz Marchant, Kota Yamasaki and Jimena Paz. In 2007 she was the recipient of EMPAC Dance Movies Commission for her dance film Kino Eye. In 2010, Elena has received Jerome Robbins Fellowship for the creation of her new work. Elena danced in the Company from 2009-2012.

  • Kathleen Fisher

    Kathleen Fisher is a dancer, teacher, improvisor, and bodyworker. She was a member of Trisha Brown Company from 1992 – 2002 and was an original cast member of M.O., Twelve Ton Rose, L’Orfeo, Canto Pianto, Five Part Weather Invention, Rapture to Leon James, and Groove and Countermove. With the Company, she also performed extensive repertory including Brown’s solos, Accumulation, and If you couldn’t see me. She has taught TBDC master classes and workshops and led lecture-demonstrations for professional and aspiring dancers, children, and educators around the world, including assisting in Set and Reset/Reset at University of Utah and leading Astral Convertible (Re-imagined) at University of Illinois. Her ongoing self-education and performance work includes projects with Bebe Miller Company and Jane Comfort and Company as well as forays into theater and film and the study of somatics and healing arts. She is a Certified Kripalu Bodyworker, Nationally Certified Massage Therapist and practitioner of Craniosacral Therapy. Her teaching is very much influenced by these practices; she uses touch, bodywork, improvisation, and vocabulary based challenges to craft a forum in which dancers experience heightened awareness in action. Currently, she lives in the US and Bimini, Bahamas where she observes and joins the amazing dance of the resident wild spotted dolphins.

  • Lance Gries

    Lance Gries danced with Trisha Brown Dance Company from 1985-1992, during which time he was awarded a New York Dance and Performance Bessie Award and a Princess Grace Fellowship. Gries was an original cast member of Lateral Pass, Newark, Carmen, Foray Forêt, Astral Convertible and Astral Converted. He has taught numerous TBDC master classes and workshops and has led TBDC restaging projects for many European dance companies and institutions, including Lyon Opera Ballet, London Contemporary Dance, Frankfurt Conservatory, CDC in Paris, Toulouse, and Angers. Gries was a founding faculty member at PARTS, a school for contemporary dance in Brussels, Belgium where he has been a visiting professor for over twelve years. His own work has been presented in New York, Europe, South America and Australia.

  • Iréne Hultman

    Iréne Hultman is a native of Sweden and a New York based dance artist. From 1983-1988, Hultman was a member of the Trisha Brown Dance Company where she also worked as rehearsal director 2006-2009. She was the Artistic Director of Iréne Hultman Dance between 1988 – 2001. She has worked on several Opera Productions and received numerous commissions. Iréne Hultman is the co Founder of Järna-Brooklyn, a Swedish-American cultural entity that encourages artistic experimentation. She is the recipient of a Guggenheim Fellowship in Choreography and a Foundation for Contemporary Performance Arts Award among others. Ms. Hultman served on The Bessie Committee and is serving on Danspace Project’s Artist Advisory Board in NYC. She is also a guest lecturer at Yale University.

  • Dai Jian

    Dai Jian is an artist from China with roots in contemporary dance, classical dance, and Martial Arts. He has created improvisations, performance installations, and visual art. Dai Jian began creating his own work alongside a professional dance performance career since he was 18 years old.

    In 1998, he was awarded at the National Dance Competition in China, and in 2000 he won the New Stars in Performing Arts from Guangzhou City (choreography & dancing) with his first solo creation. In 2004, he graduated from Madam Yang MeiQi program at BeiJing Dance Academy, and joined New York-based Shen Wei Dance Arts in 2005, and was Shen Wei’s assistant for the opening ceremonies of the 2008 Beijing Olympics.

    He joined the Trisha Brown Dance Company in 2008. In 2012 he was invited to choreograph the compulsory piece for male solo for the Boston International Ballet Competition, and choreographed for Guang Dong Modern Dance Company. He also has collaborated with filmmaker Katrina McPherson, and significantly with Kirstie Simson and Michael Schumaker, visual artist Kimberly Mayhorn, Mimi Gerrard (video), Yin Mei, Hou Ying, Guang Dong modern dance company and Jin Xing Dance Theater.

  • Eva Karczag

    Eva Karczag has practiced, taught, and advocated explorative methods of dance making since the early 1970s. She danced with Trisha Brown Dance Company from 1979-85, creating original roles in Opal Loop, Son of Gone Fishin’ and Set and Reset. She has performed her own work in diverse locations, most recently in durational performance/installations with visual artist Chris Crickmay and composer Sylvia Hallett at the Laban Institute, London, and during the Summer Dancing Festival, Coventry, England; with Malgven Gerbes (Tanzfabrik, Berlin); and with Gaby Agis (Winlab, London). Her performance work and her teaching are informed by dance improvisation and mindful body practices including the Alexander Technique (certified teacher) and Ideokinesis. She has an MFA degree (Dance Research Fellow) from Bennington College and has taught dance at major colleges and studios throughout the US, Australia, and Europe, including a sustained period of teaching on the faculty of the European Dance Development Center, (EDDC) Arnhem, The Netherlands (1990-2002). Together with Vicky Shick, she has reset Set and Reset/Reset at the Budapest Contemporary Dance School, the Modern Dance Department of the Amsterdam Theater School, and at Princeton.

  • Lisa Kraus

    Lisa Kraus studied at the Graham and Cunningham Schools and with James Waring before attending Bennington College where Judith Dunn and Steve Paxton were her teachers. She created a role in Trisha Brown’s Duetude (1976) in Boston, then danced with the Company from 1977-1982. Lisa originated roles in Glacial Decoy, Opal Loop, and Son of Gone Fishin’ as well as appearing in the television and film projects Making Dances and Beyond the Mainstream. In 2003, she was Rehearsal Director for the Paris Opera Ballet’s production of Glacial Decoy, first teaching the work and then returning to coach in 2004. In 2012 she co-taught Line Up for performances in the Venice Biennale. Her own work has been presented in the US, Europe and Australia and awarded Choreographer’s Fellowships from National Endowment for the Arts, New York Foundation for the Arts, Pennsylvania Council on the Arts and Independence Foundation. She was on the faculty of the European Dance Development Center in the Netherlands for a decade and has also served as adjunct faculty member at Swarthmore College, Temple University, and New York University, as well as guest teaching at numerous schools and arts centers inter/nationally. Lisa has written extensively on dance for publications including the Philadelphia Inquirer and Dance Magazine, and co-founded thINKingDANCE, an online dance journal. Her most recent production – Red Thread – was a collaboration with former TBDC colleagues Eva Karczag and Vicky Shick.

  • Carolyn Lucas

    Carolyn Lucas has been a member of the Company since 1984. In 1993, she was appointed Choreographic Assistant and since then has played an integral role in the creation process of Brown’s works in dance and opera. Additionally, Carolyn directs company rehearsals for new work and restaging projects for both TBDC as well as companies and institutions around the world, including P.A.R.T.S. and Paris Opera Ballet. She is also currently sharing her firsthand knowledge of nearly two decades of documenting Brown’s work for the digital Trisha Brown Archive. Carolyn attended the North Carolina School of the Arts and received a BFA from SUNY Purchase in 1984. She studies Tai Chi with Maggie Newman and Alexander Technique with June Ekman.

  • Diane Madden

    Diane Madden has danced, directed, taught, studied and reconstructed Trisha Brown’s work since 1980. Through the talents of dancers both within the company and from internationally known schools and companies, she enjoys keeping Trisha’s rich range of choreography alive on stages and alternative sites worldwide. Diane has developed an approach to teaching that weaves anatomically grounded technique with improvisation, composition and performance skills. In addition to her own performance work in collaborative improvisational forms, she is greatly influenced by her study and practice of Aikido with Fuminori Onuma. Diane has received two Princess Grace Awards (1986, 1994) and a New York Dance and Performance Award (“Bessie” 1989).

  • Mariah Maloney

    Trisha Brown Dance Company (NYC) member 1995-2002; Artistic Director Mariah Maloney Dance (NY) 2003 – Present; Graduate Program Director The College at Brockport (NY) 2011 – Present. From 1995-2002 Mariah performed, lectured and taught as a featured soloist and ensemble dancer with the Trisha Brown Dance Company, creating original roles in Trisha Brown’s Music cycle including works: Twelve Ton Rose, L’Orfeo, Canto Pianto, Five Part Weather Invention, Rapture to Leon James, and Groove and Countermove as well performing the legendary works: Set and Reset, Newark, Astral Converted and For M.G.: The Movie, among others. Today she continues her relationship with TBDC by serving as an international guest artist and directing restaging projects. The Columbia College Chicago Dance Center premiered Mariah’s re-staging of Set and Reset/Reset. Mariah creates solo and group work from the sensing body accessing movement scores and choreography through improvisation. Her company is presented in the United States, South America, Canada, Europe and Asia. In New York Mariah Maloney Dance is produced at La MaMa; The Kitchen; Dance New Amsterdam; Judson Church; Danspace Project; Brooklyn Museum of Art. Recent international engagements include Theatre Academie Helsinki, Helsinki Finland; Danza Teatro, Santiago, Chile; DanceHouse Dance Ireland, Dublin, Ireland. Mariah Maloney Dance recently presented an evening of work at the Jacob’s Pillow Inside/Out International Dance Festival and The Rochester Fringe Festival. Maloney earned a BFA from Purchase College and an MFA from Hollins/ADF.

  • Leah Morrison

    Leah Morrison joined Trisha Brown Dance Company in 2005. She is from St. Louis, Missouri and graduated from SUNY Purchase. In 2008, Leah was selected as a Princess Grace Honorarium Recipient and received a New York Dance and Performance Bessie Award for her performance of Brown’s If You Couldn’t See Me. Leah’s dance practice is influenced by her studies of the Alexander technique, Body-Mind Centering, Tai Chi, and biodynamic craniosacral therapy.

  • Melinda Jean Myers

    Melinda Jean Myers danced for TBDC for four years (2006-2010). She was an original cast member of I love my robots and L’Amour au theater. She also performed Set and Reset, Foray Forêt, Groove and Countermove, PRESENT TENSE, how long does the subject linger at the edge of the volume…, L’Orfeo, Canto Pianto, Glacial Decoy, Group Primary Accumulation, and Spanish Dance. She has re-staged Trisha Brown’s repertory at BARD College, University of Iowa and Washington University. She received her MFA from University of Iowa in 2012 and BFA from New York University in 2005. Melinda is currently residing in Chicago where she teaches dance, creates choreographic works, and is an ensemble member of Lucky Plush Productions. Her choreography and one woman cabarets have been presented throughout the Midwest, NYC, Germany and South Korea.

  • Brandi Norton

    Brandi Norton danced with Trisha Brown Dance Company from 1997-2006. She was an original cast member of L’Orfeo, Canto Pianto, Five Part Weather Invention, Rapture to Leon James, Groove and Countermove, Geometry of Quiet, PRESENT TENSE, Winterreise and how long does the subject linger on the edge of the volume… Brandi received her BFA from Juilliard and continues to lead workshops and re-staging projects for TBDC, most recently at Movingeast (London) and Lyon Opera Ballet. In 2008, Ms. Norton and Sonja Kostich formed the dance company OtherShore, which had its premiere of newly commissioned works at the Baryshnikov Arts Center where they were the first artists-in-residence to be fully produced through its presentation series. Ms. Norton performed at Danspace, NYC in Stacy Spence’s Eden As We Recall in 2012, and in Trisha Brown’s Set and Reset at American Dance Festival in 2013.

  • Cori Olinghouse

    Cori Olinghouse was a member of Trisha Brown Dance Company from 2002-2006. She was an original cast member of how long does the subject linger on the edge of the volume… She also worked with Brown on O Zlozony /O Composite for the Paris Opera Ballet, which she later performed as a soloist at the Bolshoi Theater in Moscow. Cori is a certified teacher of the Alexander Technique (graduated from Manhattan Center for the Alexander Technique) and maintains a private practice in Brooklyn and Manhattan. She teaches regularly at TBDC intensives and workshops, and has taught at Bennington College, Fordham University, Rutgers University, Hunter College, Sushi Visual and Performing Arts Gallery, London Contemporary Dance School, and Tseh Moscow Summer Dance School. She recently performed in Bill Irwin’s The Happiness Lecture at the Philadelphia Theater Company. Her own work has been presented at Dixon Place, Bennington College, The Brooklyn Museum, The Flynn Center for the Performing Arts, Judson Church, Spoke the Hub, and the Movement Research Improvisation Festival. She is a 2009-2011 Movement Research Artist-in-Residence.

  • Tony Orrico

    Tony Orrico was a member of Trisha Brown Dance Company from 2006-2009 during which he was an original cast member in I love my robots. He also performed in Foray Forêt, PRESENT TENSE, how long does the subject linger on the volume…, Set and Reset, Groove and Countermove, Geometry of Quiet and the Early Works. Tony directed the restaging of Floor of the Forest and Drift for South Bank Centre in Fall 2010. He received his MFA from the University of Iowa, Iowa City. He has worked with choreographers Shen Wei, John Jasperse, Faye Driscoll and Jack Ferver and he was a re-performer in Marina Abramovic’s retrospective at the Museum of Modern Art in New York in Spring 2010. Orrico is a visual artist, choreographer and performer. His Penwald Drawings have recently been collected by the National Academy of Sciences in Washington D.C. and commissioned by Flux/S at Strijp-S in Eindhoven, Netherlands and Dance Theater Workshop in New York City.

  • Wendy Perron

    Wendy Perron was a member of the Trisha Brown Dance Company from 1975 to ’78, and led her own company from 1983 to 1997. She has taught technique, composition, dance criticism and history at Bennington, Princeton, NYU, SUNY Purchase, the Five College Dance Department, and Rutgers. In the early ’90s she was associate director of Jacob’s Pillow, for which she organized the International Improvisation Workshop. In 2011 she was inducted into the New York Foundation for the Arts’ first Hall of Fame. In addition to Dance Magazine, where she was editor in chief for almost 10 years, her articles have appeared in The New York Times,Contact Quarterly, and the Village Voice. She is the author of Through the Eyes of a Dancer, a new selection of her writings spanning 40 years, published by Wesleyan University Press.

  • Tamara Riewe

    After some warming floor exercises, we will explore some basic movement phrases to get acquainted with the following principles: casual yet momentous weight shifts, creating specific geometries of the body while keeping the body at a soft tone, and modulating rates of fall to travel across space. These principles will be used in learning, then dancing, repertory material from Opal Loop.

    Tamara Riewe began training at the University of Washington in Seattle and earned a BFA in modern dance from the University of Utah in 2001. Since arriving in NYC that same year, she has had the immense pleasure of working with a myriad of dance artists, most frequently with Daniel Charon, Keith Johnson (LA), Bill Young/Colleen Thomas and Dancers, and Doug Varone at the Metropolitan Opera. Tamara joined the Company in 2006. She is grateful for the intricate and steadfast support structure in her life: her mother’s early dance influence, her beautiful, inspiring group of friends and colleagues, and her family’s endless encouragement.

  • Judith Sánchez Ruíz

    Judith Sánchez Ruíz is a Cuban born choreographer, performer and teacher based in New York since 1999. She began her dance studies at the age of 11 at the National School of Arts, Ciudad de la Habana, Cuba. She worked in the Danza Abierta Company (Cuba) the major exponent of Cuban avant-garde dance; and travels and teaches extensively through Latin America. Judith Sánchez Ruíz has performed with Trisha Brown Dance Company; DD Dorvillier; Jeremy Nelson and Luis Malvacias; Hope Clark; Deborah Hay; and is currently living in Berlin, as member of Sasha Waltz & Dancers ensemble. She was awarded “Mujeres Destacadas (Outstanding Women) 2008” by the Spanish newspaper in NYC, El DIARIO. She was also selected by Dance Magazine as one of the 25 Dancers to Watch in 2010. Ms. Sanchez has presented work extensively in the US and NYC, and has also presented and performed her choreography internationally in numerous venues and festivals. In 2009 Ms. Sanchez was selected as a participant in the cultural exchange program between the United States and Cuba by the Cuban Artists Fund (CAF). In 2010 she also served as an evaluator for Creative Capital’s MAP Fund, and Movement Research Panelist for Judson Church Performance and was a member of the Artist Advisory Council at Movement Research in NYC. For several years, Judith Sanchez Ruiz has emphasized a strong commitment to improvisation as a performance form involving live music. From 1996-2009, Ms. Sanchez and composer/drummer Dafnis Prieto pursued an ongoing investigation of the dynamic interplay of dance and music. They produced three evening-length works, and many improvised duets. These interactive dance/music/visual media experimental works feature live improvisation as the central component.

  • Jamie Scott

    Jamie Scott is from Great Falls, Virginia and began her professional training at the Washington School of Ballet. She attended Barnard College and graduated Cum laude in 2005. Jamie worked with Merce Cunningham as a member of the Repertory Understudy Group beginning in 2007 and joined the Merce Cunningham Dance Company in 2009. In 2012 Jamie began dancing with the Trisha Brown Dance Company. She has also worked with Daniel Gwirtzman Dance Company, Ana Isabel Keilson, the Merce Cunningham Trust and Silas Reiner. Jamie teaches technique and master classes for both the Trisha Brown Dance Company and Merce Cunningham Trust. She is a Merce Cunningham Fellow 2014 and the recipient of a 2014-2015 Princess Grace award.

  • Shelley Senter

    Shelley Senter danced in the Trisha Brown Dance Company from 1986-1991. She continues to be involved with the company as a guest artist, reconstructing, adapting, and staging choreography on companies such as Ballet Rambert (Opal Loop) and the Lyon Opera Ballet (Newark, Astral Convertible and Set and Reset/Reset), and in settings such as the Choreographic Research Center at Royaumont Abby in Paris (Foray Forêt), the Henry Art Gallery in Seattle, Addison Art Gallery of American Art in Andover, MA, the Musee d’Art Contemporain in Lyon, Barbican in London and Centre Georges Pompidou in Paris (Early Works). She has directed five Set and Reset/Reset projects: Mills College (Oakland, CA), University of Colorado (Boulder, CO), P.A.R.T.S. (Brussels, Belgium), Centre National de Danse Contemporain (Angers, France) and Lyon Opera Ballet (Lyon, France), collaborating with visual artists from France, Belgium, California and Colorado, as well as Glacial Decoy Redux (Mills College). As an independent artist, she has been critically recognized and awarded for her distinct approach to movement, and her choreography has been presented in New York at Danspace Project, DTW, The New York Improvisation Festival, Movement Research at the Judson Church and in Canada, Mexico, Argentina, Brazil, Ecuador, Chile, France, Italy, England, Denmark, Sweden, Greece, San Francisco, Los Angeles, San Diego, Boulder, Portland, Seattle and Marfa. She has worked with many distinguished artists in the field, is a repetiteur of Yvonne Rainer’s seminal dance, Trio A and is a member of LOWER LEFT and NON-FICTION artist collectives, groups dedicated to the collaborative process. Senter has taught in festivals, universities, conservatories and movement studies programs around the globe. A certified teacher of the Alexander Technique, she has been investigating the application of the principles of this technique to the performing body and mind for nearly two decades, influencing artists of multiple disciplines with her research and teaching.

  • Vicky Shick

    Vicky Shick danced with the Trisha Brown Dance Company from 1980-1986, during which time she received a New York Dance and Performance Bessie Award. She was an original cast member in Son of Gone Fishin’, Set and Reset, and Lateral Pass. Shick has also worked and performed with many New York based colleagues including a two year project with TBDC alums Eva Karczag and Lisa Kraus. She has shown her work for over two decades mostly with collaborators Barbara Kilpatrick and sound designer, Elise Kermani. In 2003, she received another Bessie for Choreographic Achievement for her long time work with visual artist Barbara Kilpatrick. In New York, Shick teaches for TBDC, Movement Research, and Hunter College. She has led TBDC re-staging projects at Bryn Mawr College, Dickinson College, Hunter College, Sarah Lawrence College and Princeton University. In fall 2010, she co-directed Set and Reset/Reset with Eva Karczag in their hometown of Budapest, Hungary and then at the Amsterdam Theatre School in 2011. Shick is a 2006 grant recipient from the Foundation for Contemporary Arts and a Guggenheim Foundation Fellow for 2008-2009.

  • Stacy Matthew Spence

    Stacy Matthew Spence is a choreographer, teacher, and dancer based in New York City. Stacy’s work has been commissioned by Tisch School of the Arts at New York University, EDge at London Contemporary Dance School, The University of New Mexico, and the OtherShore Dance Company in New York. In addition he has also taught at these as well as other national and international institutions such as Sarah Lawerence College, Manhattan Marymount College, Movement Research, Ohio State University, Centre National de Danse Contemporaine in Angers, France and Laban Trinity in London. Stacy danced with The Trisha Brown Company (1997-2006), and continues to be involved with the company through classes, workshops, and lectures focused on Trisha Brown’s repertory as well as restaging several of her works. He received his MFA from Tisch School of the Arts at New York University, and while in New York he also danced and collaborated with Polly Motley, filmmaker Molly Davies, Phyllis Lamhut and numerous others. He was chosen as a Movement Research Artist in Residence 2008 and 2009 in New York City and has shown work as part of the Movement Research Judson series. In March 2011 Stacy presented work as part of the Draftwork Series at Danspace in New York and also presented a work in progress as a 2011 – 2012 Artist in Residence for the New York Live Arts Studio Series. In May 2012 he performed with his daughter and other artist parents in co/motion, directed by Margaret Paek as part of Jason Moran and Alicia Hall-Moran’s Whitney Biennial Residency: BLEED. In September 2012 Stacy presented Eden As We Recall, his first evening length work at St. Mark’s Church with Danspace in New York City. Stacy ended 2012 performing in Deborah Hay’s Blues, as part of Ralph Lemon’s One Fine Day at The Museum of Modern Art in New York. Currently Stacy is co-directing a Set and Reset/Reset project at Rutgers University and teaching at Manhattan Marymount College.

  • Todd Lawrence Stone

    Todd Lawrence Stone was a member of Trisha Brown Dance Company (TBDC) from 1998-2010. Working with Trisha, Todd participated in creating his role in ten repertory pieces for her company, the last piece being Pygmalion, which debuted in Aix-en- Provence, France in 2010. Todd has taught both independently and for TBDC around the world, most recently at the Bienal Internacional de Danca do Ceara in Fortaleza Brazil, at Centre Nationale Danse in Paris, France, and at Music in Motion Dance Company in Virginia. His teaching style is based on principles he has learned working with Trisha as well as his study of the Alexander Technique and Tai Chi. In 2007 Todd created a production company which creates salon- type performances and workshops for artists to explore, share, and present their work to their peers as well as other patrons. The Salon has presented work in New York, Berlin and Korea. He is currently a Guest Professor at the Purchase College from which he graduated with a BFA in Dance in 1995.

  • Laurel Tentindo

    Laurel Jenkins Tentindo is a choreographer, dancer, and teacher based in Los Angeles.
 Laurel’s dances are energetic drawings on which costumes, objects, and puppets ride to evoke aesthetically rich and emotionally resonant worlds. Laurel was member of the Trisha Brown Dance Company from 2007-2012. She collaboratively creates experimental dance and puppet-theater with Luis Tentindo in Los Angeles. Her choreography has been presented internationally and in New York City at Danspace, Judson Church, and Joyce SoHo and in Los Angeles at Highways and the Fowler Museum. She is a certified Skinner Releasing Teacher.

  • Keith Thompson

    Keith Thompson danced with Trisha Brown Dance Company from 1992 – 2001, serving as rehearsal assistant from 1999-2001. He danced several major roles in the repertory and was an original cast member in M.O. L’Orfeo and Canto/Pianto, Five Part Weather Invention, Rapture to Leon James, Groove and Countermove and Twelve Ton Rose. Keith has taught numerous TBDC Technique & Repertory workshops in the U.S. and abroad. He co-directed Set and Reset/Reset at University of Utah, and directed the Canto/Pianto reconstruction at Hofstra University. Keith received his MFA Research Fellowship in Dance from Bennington College in 2003. He formed his own company, danceTactics performance group in 2005 and he currently resides in New York City.

  • Katrina Thompson Warren

    Katrina Thompson Warren is originally from Anchorage, Alaska and holds a BFA in Dance from Cornish College of the Arts. Warren danced with the Trisha Brown Dance Company from 1998-2006, creating original roles in Five Part Weather Invention, Rapture to Leon James, Groove and Countermove, PRESENT TENSE, and how long does the subject linger at the edge of the volume… She also had the pleasure of performing work from the repertory including Set and Reset, Glacial Decoy, Astral Convertible, Newark, and several Early Works. Warren has restaged Brown’s work on Pacific Northwest Ballet and Lyon Opera Ballet. She has also directed and assisted on several Set and Reset/reset projects including University of Minnesota and at P.A.R.T.S., and most recently directed a Glacial Decoy/redux project at Western Washington University. Warren has taught TBDC master classes and workshops both nationally and internationally. She now resides in Kansas City, Missouri, where her own work has been presented at the Folly Theater. She is currently working on performance collaborations with her husband/artist Peter Warren.

  • Samuel Wentz

    Samuel Wentz joined TBDC in 2009. He has been a guest teacher at P.A.R.T.S. (BE), UW-Milwaukee, UA-Tucson, UW-Seattle, UC-Berkeley, Yale University, and DanceHouse (Dublin, IE), among others. He is a graduate from Idyllwild Arts Academy and NYU Tisch.

  • Abigail Yager

    Abigail Yager danced with the Trisha Brown Company from 1995–2002 during which time she also served as Ms. Brown’s musical assistant. As a reconstructor of Ms. Brown’s choreography, she has worked with Candoco (London, England), Lyon Opera Ballet (Lyon, France), at La Monnaie National Opera of Belgium (Brussels, Belgium), Le Festival International d’Art Lyrique (Aix-en-Provence, France), and has directed educational projects at the Taipei National University of the Arts, The Theatre Academy Helsinki, The Five College Dance Department, The Ohio State University, the American Dance Festival and at P.A.R.T.S. Ms. Yager has taught at various venues including the Kyoto International Dance Festival, Independent Dance at Siobhan Davies Studios, Le Centre Choréographique National de Rennes et de Bretagne. She served as the External Examiner for the M.A. in Contemporary Dance at the Irish World Academy of Music from 2009-2013, was Guest Professor at National Taiwan University of the Arts from 2010-2012 and 2003-2005, Guest Professor at Taipei National University of the Arts in 2011, Visiting Associate Professor at The Ohio State University from 2006-2010 and Guest Professor at Korean National University of the Arts from 2005-2006. She has been on the faculty at the American Dance Festival since 2003 and is currently on the faculty of the University of North Carolina School of the Arts.