Photo by Lawrence Sumulong
Fisher Center
Welcome to Pastoral, the third collaboration between the Barbican and the Fisher Center at Bard, an internationally-renowned performing arts centre with buildings designed by Frank Gehry and Maya Lin in the pastoral landscape of New York’s Hudson Valley.
Pam Tanowitz is the Fisher Center’s Choreographer-in-Residence, and through our residency and commissioning program, Fisher Center LAB, we help her develop and premiere her most ambitious performances, including Four Quartets (2018) and Song of Songs (2022), both of which were co-commissioned by and presented at the Barbican.
Like those two earlier dances, Pastoral is a collaboration with leading contemporary artists — in this case the painter Sarah Crowner and the composer Caroline Shaw; like Song of Songs and Four Quartets it is inspired by a magnificent work from the past (here Beethoven’s sixth symphony) to create a vibrant and adventurous performance for our own times. Pastoral is full of games and playful allusions, to Beethoven of course, but also to the whole Pastoral tradition in music, dance and painting, which Pam, Sarah and Caroline dissect and remix in ways that are both loving and iconoclastic.
Thanks to the Barbican, Pam has developed a reputation in London as one of the world’s foremost choreographers. We’re grateful to all our supporters and the Fisher Center’s Advisory Board for making this work possible, and to Toni Racklin and the whole Barbican team for their continued partnership.
We wish you a wonderful time in the theatre.
Gideon Lester
Artistic Director and Chief Executive, Fisher Center at Bard
The Company
Cast
For Pam Tanowitz Dance
Marc Crousillat
Christine Flores
Lindsey Jones
Maile Okamura
Caitlin Scranton
Stephanie Terasaki
Anson Zwingelberg
Taylor LaBruzzo (Understudy)
Musicians
Bassoon Dana Jessen
Clarinet/Bass Clarinet Bill Kalinkos
Oboe/English Horn Andrew Nogal
Creative Team
Choreographer Pam Tanowitz
Decór Sarah Crowner
Music Caroline Shaw
Lighting and Production Designer Davison Scandrett
Costume Designer Reid Bartelme
Sound Designer Justin Ellington
Associate Sound Designer and Audio Supervisor Stephen Jensen
Associate Lighting and Production Designer Nicholas Houfek
Assistant Lighting and Production Designer Alejandro Fajardo
Technical Director and Production Manager Mark Quiles
Stage Manager Betsy Ayer
Rehearsal Director Maile Okamura
Music Supervisor Dana Jessen
Company Manager Madeleine Reilly
Producer Jason Collins
Event information
Running time: Approximately 1 hour. There is no interval
Age guidance: 10+
Audio Described performance: Fri 2 Oct, 7.45pm, including a pre-show Touch Tour at 6pm commencing at Theatre Stalls right.
Production Acknowledgements
Pastoral is a co-commission of Fisher Center LAB, the signature residency and commissioning program of the Fisher Center at Bard, Barbican London, Dance Reflections by Van Cleef & Arpels, and Les Théâtres de la Ville de Luxembourg. Commissioning support for Pastoral was provided by Judith R. and Alan H. Fishman, Amy and Ronald Guttman, King's Fountain, and the SHS Foundation, with additional funds provided by the O’Donnell Green Music and Dance Foundation. Developmental support was received from the Harkness Foundation for Dance.
Co-commissioned and presented by the Barbican
A Fisher Center at Bard Production
Featuring Pam Tanowitz Dance
Inspired by Beethoven’s Symphony No. 6, ‘Pastoral’
Photographs taken by Maria Baranova and Lawrence Sumulong
Traces of Pastoral
In 2025, ahead of the premiere of Pastoral, Pam Tanowitz (Fisher Center LAB Choreographer in Residence), Sarah Crowner and Caroline Shaw spoke to Gideon Lester, Artistic Director and Chief Executive of the Fisher Center, about their collaboration and the making of Pastoral.
Gideon: Pam, how did the idea for Pastoral come about?
Pam: I was setting a dance to Vivaldi’s ‘The Four Seasons’ for another project, and I became interested in working with a classical piece of music, and somehow composing over it, or removing it. I was curious about the portrayal of the natural world in the Vivaldi, and you suggested I should think about Beethoven’s ‘Pastoral’ Symphony. The Vivaldi felt somehow closed to me, whereas the Beethoven is more open, and leaves space for the three of us to work.
Gideon: Let’s talk about the title, Pastoral. It’s a name for Beethoven’s symphony, but beyond that, the word is very resonant, both for its everyday meaning and the artistic traditions that it evokes. What does it mean for each of you?
Caroline: I’ve been thinking about what ‘pastoral’ can mean to different people. What are the sounds of pastoral for a city person? Someone in New York City might think of pastoral as the absence of traffic or of speaking, seeking silence but never really having it. I have a whole folder of the sounds of nature – frogs, cicadas and crickets. There’s the Romantic notion of the pastoral as very calm or wild, but a lot of these nature sounds are incredibly blaring and uncomfortable. I’ve also been thinking about the contrast of intimate space and vast space. ‘Pastoral’ evokes Culture with a Capital C – Old Masters’ paintings, classical ballet. We think about taming nature as pastoral. But what happens when nature is really free?
Sarah: When I think of ‘pastoral,’ what comes to mind is not nature but art; a painting depicting a natural scene. There are many conventions in those paintings; there’s a horizon, trees in the foreground, and often rolling hills. There’s usually some sheep or a shepherd or a couple of figures. It’s hazy in the background, It’s all very idealised. Of course, I think of paintings of the Hudson River School, as well as older painters like Poussin.
Pam: And we are premiering the piece in the Hudson Valley, which is pastoral.
Gideon: Caroline was talking about the relationship between the city and the country. There is an aspect of the Hudson Valley that is a pastoral creation of New York City. It’s an idealised escape.
Pam: ‘Pastoral’ makes me think of old ballets, the ‘Afternoon of the Faun.’ The colours in Sarah’s paintings remind me of an homage to ballet scenery, with those big fountains and greenery. The piece currently feels very group-oriented, and that’s pastoral to me, too. I don’t know why, but it feels right.
Gideon: It feels right to me, too. The pastoral tradition in art represents idealised societies of shepherds and inhabitants of the country, whether in literature or dance, or painting. As the critic Leo Marx said, ‘no shepherd, no pastoral.’ Your dances often seem to be about communities, groups of people, gazing at each other and at the audience. This creates both a connection and a separation between the stage and the public. We’re in it, and yet we’re not in it. We’re connected to it, and at the same time, we’re distant and cut off from it, and therefore, the stage in all of your works becomes an idealised location. Of course, we won’t actually know how that feels until we’re in the theatre, and discover how Sarah’s paintings and white walls relate to Caroline’s music that both is and is not Beethoven, and to the dancers who are both part of our world and also embody a completely different world. We’ll discover how that all coheres to create a new kind of pastoral.
Pam: In our own ways, we’re all rubbing up against traditional forms, individually but also when we all come together. Whether it’s Beethoven or ballet, there’s a tension in our relationship with tradition. It’s a huge part of the project.
Gideon: And those traditions are often very male.
Pam: Yes, and you have three women here. Exactly.
Sarah: I’ve also been thinking about the transformation of studio space into stage space. For me, the studio is a metaphor. It represents change and movement. Making big, giant paintings has historically been seen as something the big guys do. Paintings so large that you can’t carry them without big, strong muscles; that used to be seen as very male. And then, thinking about nature, which is neither male nor female, of course, but this idea of taming nature, which is inherent to the pastoral form – it’s a male idea. It’s a good point that we’re all female, and some of these old tropes are very male.
Pam: They need a fresh perspective, and we’re here to give it!
Gideon: I’m curious about your collaboration. Why do you each like to work with artists outside your own art form? Is there anything unusual about this process of developing Pastoral together?
Caroline: I love that both Pam and Sarah’s work makes me think differently about what music can do. Is it telling any kind of story? How is it shaping the experience? I talked with Pam a few days ago about a section of the music that felt too emotional, and I wanted to have more of the abstract quality of her dance, while maintaining a relationship to the Beethoven score. I’ve also been thinking about Sarah’s paintings – the edges of the colour, the organic shapes. They’re not soft or blurred. They’re confident. These are the kinds of gestures that I’m trying to achieve with the music. It’s not medium, it’s not halfway. It has confident gestures, with clear edges between things. I’ve worked with Pam a lot, and every time I’ve learned something entirely new, and I’ve grown in a different way. In this case, we’re thinking about how to handle our relationship to the Beethoven symphony really delicately – when his music is recessed and when it pops through.
Pam: For me, this collaboration feels very alive. My first major commission at the Fisher Center was a setting of T. S. Eliot’s poem Four Quartets, which was already written, and I chose some Brice Marden paintings that were already made, and worked with Kaija Saariaho on music that she had already composed. This process feels very different: it’s always changing. Yesterday at a photo shoot with the dancers in Sarah’s studio, Sarah and I were looking at her paintings behind the dancers and deciding together in real time on colours for the set. And the day before, I was in the dance studio with Caroline. She brought in ideas for the sound, and then in real time, we changed things and experimented. So I think that’s it; the experience of working in real time, and creating something that’s very much about the present moment. It’s also exciting for me to be able to see how the other art forms frame the dance. What does Caroline’s music do to my dances? When I teach choreography, I ask my students, ‘What is this music doing to your dance?’ Caroline’s music helps uncover narratives in my dances. Sarah’s paintings also do that. When the action and the gestures are set in front of the paintings, and framed by these big, graphic, beautiful, abstract works, it uncovers the mystery of my dance.
Sarah: I agree. We’ve got three elements: music/sound, movement/dance, and painting/art. It’s an interesting experiment: what does one thing do to the other? Can we make our media even more enlivened than they already are? What are the music and the dance doing to my paintings, which are relatively still, or static? They don’t move, and they don’t speak; they’re physical objects in space. Do music and dance make my paintings come alive? Or, what could painting do to sound? Does it quiet it? Does it enliven it? Something dynamic is definitely taking place.
Pam: I love your question, Sarah, about how your painting affects the dance. It’s not just conceptual; it’s also literal. The paintings are literally changing the depth of the stage space, and cutting things off from view, creating frames. And when Caroline was talking about the relationship to Beethoven, that’s another part of this project, which is how all three of us grapple with or react to or embrace tradition.
Gideon: You’ve had this idea for a long time, to set a dance to an existing work of music, and then to create over it, like a palimpsest. Can you talk about that?
Pam: I’ve always been obsessed with Rauschenberg’s ‘Erased De Kooning Drawing.’ [Robert Rauschenberg asked Willem de Kooning for a drawing, which Rauschenberg then erased, and turned into a new picture, which he signed himself.] I wondered, could you paint over or erase a dance in the same way, leaving only traces? What would that be like in a performance? You can’t really do it, but I like the questions it raises; it asks me to reassess what is essential in making a dance. I love the idea of a foundation or frame, of making a dance to more traditional music, and then taking it away but leaving elements of it behind, like swatches. It opens the whole thing up. That’s where Caroline’s music helps, because she’s doing the same thing. This idea of overpainting, or of working with traces, connects all three of us. We’re not working completely independently; it’s not like Merce Cunningham and John Cage, who created their own scores and never came together until the day of the show, when they’d just see what happened. But we’re also not micromanaging the collaboration. We’re finding a middle ground.
Gideon: Caroline, you frequently use sampling techniques in your music, and you’re regularly in dialogue with what’s gone before. What is your relationship with the Beethoven in what you’re writing now? Are you using sampling? How are you responding to it, or not responding to it?
Caroline: I couldn’t not do some sampling, because I find it delicious and satisfying. When I was working with Pam and the dancers in the studio, we liked hearing a snippet of the Beethoven in an old 1913 recording from a wax cylinder, which already locates it; it sounds ‘other’, as if from another place. And then it goes away, and you still see the music in the dance without it being there, and it returns at surprising times. We also have three live reed instruments: bassoon, clarinet doubling on bass clarinet, and oboe doubling on English horn. Reeds are a very early type of instrument; someone took a reed, chopped it up, blew through it, and made it vibrate. It sounded weird, and then over thousands of years, we figured out ways to refine that sound. These three musicians can play the Beethoven, little snippets of it, but then they’re abstracted. There are several moments where the bassoonist Dana Jessen goes wild, and you hear the guttural utterance of this old instrument, a raw reed sound, which I love. Whenever I respond to older music, it’s not in an ironic or heavy way; it’s playful. I love the Sixth Symphony. I played it many times when I was younger. I love Beethoven. I don’t think of him as a weighty character that I must fight against. We don’t have to take it that seriously, but I do take music incredibly seriously, as did he. I’m also very interested in form. Pam was talking about swatches, about collage; this is something we both really enjoy. At the same time, pacing is very important. You can’t just put anything anywhere, it has to be organic.
Pam: It’s not random.
Caroline: It’s never random. I set up an environment where elements from different worlds can speak to each other in a way I find delightful. There’s delight and play in my work, which is something nature has in spades.
Sarah: I love the way that you’re talking about working with Beethoven. It’s not like an Oedipus Complex – ‘I’m going to kill the father.’ It’s not destructive. You’re delighting in it, you’re playing with it. You take this away, or add this, or bring this or that in. It’s interesting to think about the Old Masters, whom we may revere, with a spirit of delight and play, rather than trampling on them, moving them aside. It’s almost the anti-Oedipus Complex. I think about this with painting, too. Of course, I respect painters from the past, and I’m always looking for hints and tricks in their paintings. I’m not trying to kill them, I’m trying to build something from them.
Pam: I do the same thing with my work. I have all these different kinds of movements that talk to each other; I call it ‘talking dancing.’ I place things next to each other, and that creates a dialogue. It always comes from love and homage, not from competition or making fun.
Gideon: Sarah, do these ideas of layering, swatches, sampling and collage apply to your painting practice?
Sarah: Yes, they do, very literally. I build a composition, usually with many colours, many forms, and then I piece it together. I put it up on the wall, stretch it, hang it, and then if I see something isn’t working, or something needs to be changed, I may take it down and cut out a part that’s not working, move that aside, and then remake it again. It’s a continuous process of destroying and rebuilding, destroying and rebuilding, until I arrive at a place that feels finished, satisfying and complete.
Caroline: So much of my music responds to other work; those are the swatches and clips of things that I compose with or pull apart. And then I’m constantly returning to certain chords and patterns. The thing that I’m always trying to crack in music is to be moved, really truly moved, in a way that isn’t forced.
Gideon: Pam, you often sample from your previous dances.
Pam: Yes, I’ll take an idea from an older piece and make a whole new body of work from it. It’s as if I haven’t cracked the case yet, and it sticks with me. Whatever I was making before wasn’t perfect, or I didn’t work out what I needed to, so it hangs around.
Sarah: You save it, you put it aside. It’s the same for me; I never throw away any of the parts that I cut out of my paintings. One thing always leads to another.
Biographies
Choreographer
Pam Tanowitz is a New York City-based choreographer. Her company, Pam Tanowitz Dance, has performed at Bard Summerscape festivals (2016, 2018, 2021, 2022, 2025), La Biennale di Venezia, Brooklyn Academy of Music, the Barbican Centre, Lincoln Center and New York City Center. She has created three ballets for The Royal Ballet and is currently working on a fourth. Other companies that have danced her dances are New York City Ballet, Paul Taylor Dance Company, Martha Graham Dance Company, Miami City Ballet, Wiener Staatsballett and Australian Ballet. She has also created dances for Vail Dance Festival and The Juilliard School. Artistic highlights include: Fisher Center at Bard Choreographer-in-Residence (present); Doris Duke Award (2020); LMCC Liberty Award for Artistic Leadership (2022); NYCC Artist at the Center (2023); Jacob’s Pillow Award (2024); Herb Alpert Award (2019); Juilliard Creative Associate (2024, 2025); and Assistant Professor of Professional Practice at Mason Gross School of the Arts at Rutgers University (present).
Performer
Lindsey Jones has been a member of Pam Tanowitz Dance since 2013. A SUNY Purchase alumna, she was a long-time member of Dance Heginbotham and has performed with Trisha Brown Dance Company, Kimberly Bartosik, Sally Silvers, Bill Young and Caleb Teicher, among others. Since 2012, she has been involved with the Merce Cunningham Trust, performing Merce’s repertory on stage and in film and is certified to teach Cunningham Technique®. Jones has assisted Tanowitz on projects at Case Western University and Paris Dance Project and has taught at Rutgers University, Marymount Manhattan, and SUNY Purchase. She is currently a Teaching Fellow at Smith College.
Performer/Understudy
Taylor LaBruzzo is a freelance dancer, teacher and dance rehearsal director/assistant based in New York City, originally from Las Vegas, Nevada. She has performed across the country with Brian Brooks Moving Company, has recently worked with Pam Tanowitz Dance and collaborates regularly with Aszure Barton as a dancer, assistant and stager. Taylor teaches contemporary dance at the School of American Ballet and has taught at summer intensives including Canyon Concert Ballet, Steps on Broadway and Nevada Ballet Theatre. For the past four years, she has worked at Juilliard as the dance division’s first ever Rehearsal Assistant. Taylor received her BFA at Juilliard under the direction of Lawrence Rhodes, where she performed works by world-renowned choreographers including Crystal Pite, José Limón, Gustavo Ramirez Sansano and Ohad Naharin. Upon graduation, she was awarded the Juilliard Career Advancement Fellowship.
Sound Designer
Justin Ellington is a composer and sound designer working across theatre, film, and radio. His Broadway credits include Othello, Our Town, McNeal, Home, Jaja’s African Hair Braiding (Tony nomination), for colored girls… (Tony nomination), Topdog/Underdog, Pass Over and Clyde’s. Off-Broadway, he has created sound for Lincoln Center Theater, New York Theatre Workshop, The Public Theater, and more. Justin is delighted to be collaborating with Pam once more, following their successful partnership for Day for Night at Little Island. He also serves as a Lecturer in Sound Design at the David Geffen School of Drama at Yale University, where he guides students in the art of storytelling through sound.
Production Manager/Technical Director
Mark Quiles is a Long Island-based Production Manager, Technical Director and Tour Manager. He was the Production Manager and Technical Director for the previous two Fisher Center/Pam Tanowitz touring productions, Song of Songs and Four Quartets. He is currently the Production Manager, Technical Director, and a Professor for the Adelphi University Department of Theatre. He is also the Tour Manager and Production Manager for the California-based band Drain (Epitaph Records), touring nationally and internationally since 2022; headlining, supporting Blink-182, and performing on the Vans Warped Tour. He served as the Associate Technical Director for the Bard Summerscape Festival for multiple seasons. Mark earned his MFA in Scenic Technology from the University of Illinois at Urbana-Champaign in May 2020, and his BA from SUNY New Paltz in May 2017.
About Pam Tanowitz Dance (PTD)
Pam Tanowitz Dance unites critically acclaimed choreographer Pam Tanowitz with a company of world-class dance artists and renowned collaborators in all disciplines. As a choreographer, Tanowitz is known for her abstract treatment of classical and contemporary movement ideas. The work is deeply rooted in formal structures, manipulated and abstracted by Tanowitz until the viewer sees through to the heart of the dance. The juxtapositions and tensions that Tanowitz creates draw upon the virtuosic skill, musical dexterity, and artistic integrity of the PTD dancers. Since the company was founded in 2000, PTD has received commissions and/or residencies at the Fisher Center at Bard / Bard SummerScape, Baryshnikov Arts Center, Chicago Dancing Festival, Danspace Project, Dance Theater Workshop, Guggenheim Museum’s Works & Process, Jacob’s Pillow Dance Festival, the Joyce Theater, ICA Boston, Lincoln Center Out of Doors, Lower Manhattan Cultural Council, MANCC, New York Live Arts, and Center for the Art of Performance at UCLA. Pam Tanowitz Dance has been selected by The New York Times’ Best of Dance eleven times since 2013.
The Pam Tanowitz Creation Fund is supported by the Friends of Pam with leadership gifts from an anonymous donor, Angela Bernstein CBE, and Lizbeth and George Krupp.
About Fisher Center at Bard
The Fisher Center commissions, produces, and premieres major new performances across disciplines, and tours them nationally and internationally. Based in magnificent buildings designed by Frank Gehry and Maya Lin on the campus of Bard College in New York’s Hudson Valley, its programs include the world-renowned SummerScape Festival, Bard Music Festival, and Fisher Center LAB, its residency and commissioning program. As a hub for research and education, it commits significant resources to leading artists who are often a step ahead of the zeitgeist, inventing and testing new forms, and asking critical and profound questions about the nature of humanity. Recent successes include Tony Award-winning productions of Oklahoma! and Illinoise, as well as Pam Tanowitz's Four Quartets and the first American production of Saint-Saëns's Henri VIII.
Fisher Center LAB is funded in part by the Lucille Lortel Foundation and the Fisher Center’s Artistic Innovation Fund, with lead support from Rebecca Gold Milikowsky and additional funding from The William and Lia G. Poorvu Family Foundation.
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Embassy of the Kingdom of the Netherlands
The Garrick Charitable Trust
Goethe-Institut London
The Great Britain Sasakawa Foundation
Henry Moore Foundation
Institut français du Royaume-Uni
Korean Cultural Centre UK
Lucille Graham Trust
Mactaggart Third Fund
Performing Arts Fund NL
Polish Cultural Institute London
Royal Norwegian Embassy in London
Stanley Thomas Johnson Foundation
We also want to thank Barbican Members and the many thousands who made a donation when purchasing tickets.
The Barbican Centre Trust Ltd, registered charity no. 294282
