- unitid
-
{"value"=>"3630700", "type"=>"local_mss"}
- unitdate
-
{"value"=>"1980-2017", "type"=>"inclusive", "normal"=>"1980/2017"}
- unittitle
-
{"value"=>"Subseries III.A. Building Notebooks and Scores"}
- bioghist
-
{"value"=>"<p>This subseries contains what the company called their \"Building Notebooks and Scores.\" Brown's style of choreography was both very precise and constantly in flux, extensively detailed and refined. In the early stages of a work, Brown would use improvisation as a nonverbal method of transmitting movement to her dancers. Gestures she made would be interpreted by the performers, and these interpretations would be incorporated into the final work. The improvisation and refinement did not end there, as the works were constantly being created through multiple movement sketches and revisions, sometimes as small as one movement at a time. Hence, each work \"built\" on what came before. Brown began to use the terminology \"Building Rehearsal\" during the creation of her work <span class=\"title\">Glacial Decoy</span> (1978). Starting with the production of <span class=\"title\">Opal Loop</span> (1980), Brown began to extensively record, on video, her work in progress.</p> <p>In the 1980s the company began to identify and organize these rehearsal recordings. The backlog of footage was reviewed and the contents of each recording were listed on what they referred to as \"video logs.\"</p> <p>In 1994, when Carolyn Lucas became Brown's Choreographic Assistant, she became the primary creator of the Building Notebooks. In the studio, Lucas would film rehearsals while taking shorthand notes, often noting exact timestamps so the company could reference certain movements and improvisations. Lucas would then review and edit her recordings and notebooks, compiling together phrases, gestures, and sections that would serve as the basis for future Building Rehearsals.</p> <p>In the 2000s, the company undertook an effort to duplicate many of the older building materials in order to prevent loss. The project was led largely by Dianne Madden during her time as Rehearsal Director, and the resulting materials came to be referred to as \"Road Box\" materials.</p>"}
- scopecontent
-
{"value"=>"<p>The building notebooks contain notes in shorthand, written mainly by Brown or Lucas during a rehearsal or performance, as well as any other notation that would serve in the evolution or staging of a piece. Also found alongside these notebooks are scores and librettos (often annotated); research materials including dramaturgy; notes by the rehearsal director; and reconstruction notebooks and notes.</p> <p>The company used the nomenclature of \"Master\" and \"Edited Master\" to refer to the majority of these building materials. The Master notebooks would be the first, before Lucas' editing had taken place. The Edited Master notebooks were the primary source material used by the company in its reconstructions. These notebooks are titled M (Master) or EM (Edited Master), followed by a sequential number. This numbering system corresponds with the titles of some of the recordings found in Series IV: Audio and Moving Image Recordings.</p> <p>While the Road Box materials are direct copies, some do contain additional notes. The reconstruction notebooks are, generally speaking, consolidated Edited Master Notebooks and were usually produced after a recording was digitized.</p>"}
- arrangement
-
{"value"=>"<p>Alphabetical.</p>"}
- date_start
-
1980
- keydate
-
1980
- date_end
-
2017
- date_inclusive_start
-
1980
- date_inclusive_end
-
2017