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Yvonne Rainer, Trio A review: watching this thrilling performance for free feels like an enormous privilege
Tate Modern, London With this work, the choreographer changed the course of dance – and on its 60th anniversary, viewed by babies, tourists and passers-by, it’s as beguiling and hypnotic as ever At the back of the Turbine Hall, three people are dancing. If it weren’t for the vinyl dancefloor and the white line separating it from the audience, however, you might not immediately realise it. You could be forgiven for thinking that they were performing some idiosyncratic form of Tai chi or, if this were a different dancefloor, that they had taken rather too many drugs: one rolls around on the ground, another stretches his arms out wide, a third sinks to her haunches and touches her toes. All appear so enthralled by the actions of their own bodies as to be oblivious both to their partners onstage and the audience in front of them. This being Tate Modern on a Friday afternoon, that audience in
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Tate Modern, London With this work, the choreographer changed the course of dance – and on its 60th anniversary, viewed by babies, tourists and passers-by, it’s as beguiling and hypnotic as ever At the back of the Turbine Hall, three people are dancing. If it weren’t for the vinyl dancefloor and the white line separating it from the audience, however, you might not immediately realise it. You could be forgiven for thinking that they were performing some idiosyncratic form of Tai chi or, if this were a different dancefloor, that they had taken rather too many drugs: one rolls around on the ground, another stretches his arms out wide, a third sinks to her haunches and touches her toes. All appear so enthralled by the actions of their own bodies as to be oblivious both to their partners onstage and the audience in front of them. This being Tate Modern on a Friday afternoon, that audience in
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According to The Guardian’s linked source, Yvonne Rainer, Trio A review: watching this thrilling performance for free feels like an enormous privilege, Tate Modern, London With this work, the choreographer changed the course of dance – and on its 60th anniversary, viewed by babies, tourists and passers-by, it’s as beguiling and hypnotic as ever At the back of the Turbine Hall, three people are dancing. If it weren’t for the vinyl dancefloor and the white line separating it from the audience, however, you might not immediately realise it. You could be forgiven for thinking that they were performing some idiosyncratic form of Tai chi or, if this were a different dancefloor, that they had taken rather too many drugs: one rolls around on the ground, another stretches his arms out wide, a third sinks to her haunches and touches her toes. All appear so enthralled by the actions of their own bodies as to be oblivious both to their partners onstage and the audience in front of them. This being Tate Modern on a Friday afternoon, that audience in
Context
The development sits in VINI’s Technology coverage for readers following technology, science, product policy, markets, infrastructure, and the public consequences of innovation. The original report is linked so readers can check the publisher account, follow later updates, and compare new coverage against the first published record. The original item is dated 2026-07-11T07:00:44+00:00.
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Source
Primary source: Yvonne Rainer, Trio A review: watching this thrilling performance for free feels like an enormous privilege via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- Yvonne Rainer, Trio A review: watching this thrilling performance for free feels like an enormous privilegeThe Guardian - 2026-07-11T07:00:44+00:00
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