テート・ギャラリーのインスタグラム(tate) - 1月27日 20時16分

The other tension in "Set and Reset" is between what is seen and what usually remains unseen, that is, what takes place off-stage. At the time of making the piece, Brown was exploring the proscenium setting, having at that time only relatively recently started making work for presentation in the theatre. Her previous work had been site-specific and performative - rooftops or gallery spaces were more typical settings. Rauschenberg visited the rehearsal studio where Brown had hung curtains as stand-ins for the "legs" of the wings and became fascinated by seeing the dancers' exits and entrances. Why not show the activity in the wings and blur the boundary between stage and not-stage? This is why the set design includes the gauzy hangings at either side of the stage - the piece makes a virtue of the blurring of this boundary and accordingly much of the dance takes place at the margins of the stage rather than in the centre.
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Keep an eye on our stories and feed as photographer @LondonLivingDoll shares a sneak peek of Trisha Brown’s influential dance piece ‘Set and Reset’ (1983), on show from tonight at Tate Modern.

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• LondonLivingDoll