Beside the Arsenale della Danza, another example of commitment to the training of young talents is the Milano Teatro Scuola “Paolo Grassi”. Conceived and directed by one of the major Italian critics in the field, Marinella Guatterini, based on the model of the major European schools, the Third Course in Dance-Theatre presents a production that grew out of the encounter with the “lesson” of American choreographer Trisha Brown. A key figure in American Post-Modern, Trisha Brown amazed the world by taking dance out of the theatres, into public spaces and totally original venues, developing a language of free and fluid movement that assimilated everyday gestures as well. In the Seventies, in a climate of ardent experimentation and a creative explosion in all the arts, her ideas revolutionized the very premises of dance: this was the period of “aerial choreography” during which Brown defied the laws of gravity by making her dancers walk across the façades of skyscrapers (Man Walking Down the Side of the Building, 1970, Walking on the Wall 1971) or dancing on the roofs of New York (Roof Piece 1973). Line Up and part of the choreographer’s “Early Works” – Sticks, Scallops, Clackers, Spanish Dance, Solo Olos, Corners and Figure 8, recreated here by the Course in Milan – belong to that fervent period, the years 1976-77: they are an essay on the irony and simplicity that distinguish the American choreographer and a true milestone in her repertory. All Brown needs is a line of dancers to unfurl the countless possibilities of combining movement. For the creation of Line Up, the students of the “Paolo Grassi” were an integral part of the both the creative process and the final result. The two rehearsal directors, Lisa Kraus and Elena Demyanenko, who were members of Trisha Brown’s company in the past, have taught the students the exact sequences of the original choreographies, to then guide them through an extensive process of improvisation which included the same group of instructions that Brown gave the dancers of her company in 1976. In Line Up, Trisha Brown asked her dancers to improvise on the instructions for the line-up and to memorize the result, so the choreography could be reproduced.