It also interferes with “The Decoy Project,” conceived by Carolyn Lucas, the group’s associate artistic director, and Scott, who is joined by fellow company members Campbell, Fulmer and Amanda Kmett’Pendry, as well as the guest dancers Hadar Ahuvia, Raven Blue, Jennifer Payán and Hsiao-Jou Tang. In this work, unlike the others, the dancers wear masks.
“The Decoy Project” takes inspiration from Brown’s groundbreaking “Glacial Decoy” (1979), her first work for the proscenium, in which four dancers sweep across the stage in a manner that leads to the impression that there are more in the work. Over time, Brown herself reconfigured the choreography of “Glacial Decoy” to fit different spaces. In 1980, she created a version of it for a performance at 55 Crosby Street; she also arranged a version of it for WNET’s “Dance in America” series on a broadcast called “Beyond the Mainstream,” which aired on public television that same year.
The new arrangement, described in the program as “a marriage between an adaptation of the work Trisha created for WNET and the original ‘Glacial Decoy’ form,” involves entrances and exits from both sides of the frame while playing with the space’s depth.
While it glides along, sometimes delightfully — in one memorable moment, Scott and Tang crash into each other, chests first — the overall presentation has a dizzying effect as the camera shifts perspectives. “Glacial Decoy” is about seeing the breadth of the stage; at times, because of its editing and angles, “The Decoy Project” feels forced, more labored than smooth.
But it’s worth seeing for the dancers. The expanded cast was instituted in response to the pandemic; it was a way to get more dancers into the studio. Watching these different bodies thread their way in and out of Brown’s choreographic web speaks to determination, joy and grit — it’s dancing in difficult times.
Trisha Brown Dance Company
Through May 12 on JoyceStream; joyce.org