Rainer did not use any traditional, metrically corresponding choreographic music, she listed three types of sound that provided expressive overlays for those movements, even if set against movements that do not correspond to them in any way. The powerfully romantic music, the repetitive, dissonant “new” music and the violent sounds emanating from the dancers ‘ own body were three of many possibilities for the relationship between sound and movement, the movement could correspond to the sound”,
counteract the sound or exist independently of it, and if independent, the movement could take on the expressive meaning of juxtaposing sound. (Banes, 1993)
Trio A is one of her most famous pieces and was performed on 10 January 1966 first at the Judson Memorial Church in Greenwich. The Mind is a Muscle was at first part of her larger work. The minimalist aesthetic of Rainer stripped dance of its drama and entertainment value with presenting the body as objects and its movements. (Web.archive.org, 2011)
Rainer is always spectator-conscious. She reacted in her early works against the presentational way of ballet as well as the expressive and the dramatic mode of modern dance, instead of seeking an objective, undemonstrative style. She favored a matter-of-fact delivery (the dancer would “just do it” instead of “performing” a movement), task-like actions, monotonous dynamics, sometimes unbearable repetitions. While spectators may be baffled, maddened, or bored, Rainer was not interested in enjoyable
her audience. Also, because she had denied to “bedeck” herself as a girl on social occasions, so her choreography kept insisting that the audience see clearly what’s there rather than buying into some comfortable illusion.
You could say with her film work that Rainer changed her attention from object to subject to what the viewer sees and what the viewer reads. Rainer’s film subjects were close to her heart – performers ‘ lives, aging, feminism, menopause, racial identity, lesbianism she was moved from a rhetorically “political lesbian” to a practicing one during ’90s.
She is an Artist who is an anti-artist and activist who is also an esthete, Yvonne Rainer is a combative, contrary and confusing figure whose work has moved back and forth from choreography to cinema.
Rainer was the Judson choreographer’s most prolific and controversial, throwing herself into a sort of anti-dance that favored dumb movements, non-expression, disconnection, and randomness.
Trio A became her signature work – except for Rainer, she was uncomfortable with the idea of a “signature” because it involved her as the “boss lady.” She gave up her Trio A “authorship” by declaring that anyone who performed, it would be capable of teaching it to anyone else. (Roy, 2010)
Yvonne Rainer, she was one the first dance practitioners who return to the “everyday-body” wholesale as a difference to the “performing-body” showing virtuosity and abilities. The choreographic advancements of Rainer engaged combining movements that digress with the tones of a daily attitude from the efficient or purposeful. This led to an even, anti-dramatic phrasing being developed, challenging the traditional intentionality behind performance with the dancer appearing as a ‘ neutral
Rainer thus established a tension between the deeds themselves non-mimetic, choreographed content and the tone of their performance pedestrian attitude and non-virtuosic attitude friction between content and performance.
In Rainer’s film work continue this interest in the relationship between content and ideologies of ‘ performance ‘ and its effect on what Phelan terms ‘ the relationship between spectacle and spectator. ‘
One of the most debated facets of Rainer’s shift from dance to the film has revolved around her reconfiguring the relationship between performer and spectator. This project was started with Rainer’s battle against a dance performance voyeuristic and narcissistic model, criticism which had ideological consequences for the dance audience.
Rainer’s choreography was liberated from the exclusiveness of virtuosic dance; it was performed by an ‘ everybody ‘, and it excited as many people as it shocked. A new relationship between performer and bystander was accomplished through the repression of spectacle in the on-stage activity of the dancer, a kinetic intimacy with the body performance, challenging phrasing that echoed dramatic crescendos, and an a version of the dancer’s gaze.
Through the construction and execution of the dances, spectatorial ‘ reconditioning ‘ was achieved and built into the performance, inserting an inherent socio-political challenge into her work. (Brannigan, 2003)
New Dance movement increase awareness in a vast number of topics including emotions power, sexuality, gender equality and other social issues used to prevail the people then. (Polimekanos, 2018)