copyright 2007-2014

Selected Press / Writings / Interviews

"...Rebecca Brooks's three-hour long, continuous dance performance, YALA, delicately engaged very different surroundings. On the wall behind her was a series of austere black and white Richard Serra prints which she responded to with her own sensual, curvilinear movements, which in turn were echoed in a more direct way by the proximity of Ray Smith's sculptures. Both dancer and sculptures seemed to roll and undulate throughout the space, which was in a sense "framed" by Serra's rectilinear forms. Here, as elsewhere in the performances, movement was infused into the still spaces between stationary artworks in such a way that both the dancers and the artworks came to be seen differently. The interplay between them became a kind of physical manifestation of the kind of artistic dialogue that underlay the conception of the exhibition itself." - Come Together: Surviving Sandy, Year 1 catalogue, by Katy Rogers

"Hers is a movement practice in service of the body’s inherent desire to return to a state of open-heartedness before the external trauma of mundane life solidifies, armors us, and keeps us from the subtle sensory details of our own consciousness." - Hopeful Grief by Cassie Peterson, The Brooklyn Rail

Bikini (and Hoop Skirt) Season Is Here, and Not a Moment Too Soon Brian Seibert, The New York Times

Most Stylish New Yorker Amy Plitt, Time Out New York

Rebecca Brooks on the Alexander Technique Eva Yaa Asantewaa, Infinite Body

Bust a Movement Gia Kourlas, Time Out New York

Interview in Critical Correspondence about my involvement as a re-performer in the MoMA Retrospective Marina Abramovic The Artist Is Present

Open letter in response to 2011 MOCA gala performances, from three re-performers from the retrospective at MoMA on The Performance Club

Selected Mentions

“Rebecca Brooks, a long-limbed dancer both articulate and soulful” – Gia Kourlas, The New York Times (on Amanda Loulaki’s I Am Saying Goodnight)

“But it is worth listing the complete cast. Rebecca Brooks, Naomi Fall, Jodi Melnick, Iréne Hultman Monti and Vicky Shick: Ms. Rethorst consistently draws some of today’s smartest, most enthralling artists, dancers who know exactly what they’re about, and want to work with choreographers about whom the same can be said.” – Claudia La Rocco, The New York Times (on Susan Rethorst’s BEAU REGARD)

"I saw [Rebecca] as my body advocate. She was there to see me through my natural movements, and remind me of the options available to me in making choreographic choices. [...] As an Alexander Technique instructor, Rebecca is very unique in that she honors the quirks of the individual body. Instead of trying to teach the body to move and appear in a uniformly “released” way, she can see what the body’s natural tendencies or desires for movement are, and help to find a pathway to bring that out." – Milka Djordjevich, BOMBBLOG (on RB’s Performance Advisor/Eye role in Kinetic Makeover)

"I love in dance how there are ways to do so many different things. I’ve worn a lot of hats in this field, and I am so interested in participating in many different ways. [...] in Rebecca’s work, I really love the influence of the Alexander technique. She’s dealt with some injuries over the years and she’s really interested in creating a physically sustainable practice and I benefit from that. I’ve had some issues. It’s going to be nice to be in the work of someone who is conscious of those things. It’s generous." - Ursula Eagly, Time Out New York (on working with Rebecca Brooks)