A bienal “Artista na Cidade” é uma programação cultural que se realiza em Lisboa e tem por objetivo homenagear um artista através da apresentação da sua Obra. 2012 é o ano da coreógrafa belga Anne Teresa De Keersmaeker, uma das mais consagradas representantes da dança contemporânea a nível mundial. “Artista na Cidade, Anne Teresa De Keersmaeker, Lisboa 2012″ é um programa da responsabilidade das seguintes entidades: alkantara festival, Centro Cultural de Belém, Companhia Nacional de Bailado, Culturgest, EGEAC, Festival Temps d’Images, Fundação Calouste Gulbenkian, Teatro Maria Matos e Teatro São Luiz.

The biennal “Artist of the City” is a cultural program with the purpose of honoring an artist by presenting his work, and takes place in the city of Lisbon. 2012 is Anne Teresa De Keersmaeker’s year, Belgium choreographer and one of the most renowned representatives of contemporary dance worldwide. “Artiste of the City, Anne Teresa De Keersmaeker, Lisboa 2012″ is a program of the responsibility of the following entities: alkantara festival, Centro Cultural de Belém, Companhia Nacional de Bailado, Culturgest, EGEAC, Festival Temps d’Images, Fundação Calouste Gulbenkian, Teatro Maria Matos and Teatro São Luiz.

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Anne Teresa de Keersmaeker
Lust for life

Of some great artists it is said that they have spent their life trying to make the same work of art over and over, in a never ending stream of variations and re-combinations. Examples that come to my mind are Mark Rothko, Merce Cunningham or even Charlie Chaplin. That is not the case with ATDK; her artistic oeuvre is driven by a continuous quest for new possibilities: new subject matter, new formats, other music, other movement materials… no stone seems to be left unturned. An amazing lust for life emanates not only from each and every one of here creations, but also from her relentless artistic trajectory. The oeuvre of Rosas feels like a determinate and systematic occupation: with each new creation, elements of previous works are refined, adapted and consolidated, only to form a secure basis from which to venture into new territories.

Trying to capture the diversity of ATDK’s artistic creation in an intervention of ten minutes is an impossible mission. I will not try to do so, but rather present a couple of observations and thoughts that I have come across in interviews, dance critiques and essays and that I think are relevant for an understanding of the full scope of her artistic work.

1.

Choreography is an organisation of time and space and – within time and space – the human body as a benchmark, the single unit to which all other elements of a performance are related.
For the organisation of time, the relationship with music is of utmost importance in the work of ATDK. Where Merce Cunningham and John Cage spent all their inventiveness on separating dance and music and Pina Bausch used music for emotional or narrative purposes, ATDK investigates the interaction between dance and music from a structural and formal point of view.

Time is duration. Almost all of ATDK’s works that use music, do so in full respect of the duration of the musical score. You will hardly find any examples of sampling in her work, of soundtracks created out of bits and pieces glued together for dramatic effect, as happens so often in contemporary dance. On the contrary, ATDK likes to choreograph complete compositional movements or even full works. In combination with a clear preference for classical music, contemporary composition and jazz, this gives her work a certain classical sense of timelessness.
But, in music, time is also rhythm. In counterpoint to the oceanic quality of duration, the music that ATDK chooses to work with is also a rich source of complex rhythms and multi-layered textures. It has been pointed out that ATDK’s choreographical language has grown in richness and complexity as she was getting acquainted and profoundly knowledgeable about ever more complex compositional structures; from the early interest in minimal music, over Mozart and Bach to Bartok, Schönberg, Alban Berg and Ligeti, but also John Coltrane, Indian Raga music and, in her latest works, En Attendant and Cesena, the impressive and dark scores of the medieval Ars Subtilior.

Words like duration, rhythm and texture suggest a cold, calculated relationship. But, while it is true that Rosas dancers spend a lot of time counting, the result of this precise and delicate encounter between movement and music is a passionate celebration. There is, in the work of ATDK, a quiet trust that the truthfulness of the encounter of both is bound to generate beauty, emotion and meaning. Structure is never just rational; emotion is not limited to meaning. That, of course, has also to do with the core material of choreography: the human body with all its idiosyncrasies, emotional charge and energy.

2.

Just as with music, ATDK deals with space in a precise and rigorous manner. Her favourite space to perform is, no doubt, the stage. The empty stage. I know of no example in her work where the scenography represents an imaginary space, like a palace or a living room, and when there is a reference to a real space, like, for instance, in Woud, three movements to the music of Berg, Schönberg and Wagner, the impressive tree trunks are rather an architectural element than a tentative to recreate a wood on stage. Architecture, as the art of the organisation of space, is a central concept: when a big truck accompanies Rosas on tour, it is filled with ‘useful’ objects, objects that are used to adapt or reconfigure the architectural space of the stage: a wooden dance floor, chairs, a curtain, maybe some raised platforms for the dancers to dance on top of… Textures of light and materials are used to create a certain warmth or coldness, never to suggest an imaginary space. They are always real, never fake.

There is another aspect to the question of space. Whoever has had the opportunity to look into some of ATDK’s more than hundred notebooks, will undoubtedly have been surprised by the many drawings of patterns. Geometrical patterns, like spirals, the golden ratio, rosettes, stars, ellipses, etc. They are the spatial counterparts of the rhythmical patterns that the choreography creates in time. In pieces like Drumming or Rain, the interlocking nature of time and space is so precise and compelling that the pieces feel as if they were mechanic clockworks, ticking away in absolute unison.
The use and combination of patterns also has another unexpected effect: as these patterns are present everywhere in nature, in the construction of atoms and crystals, the growth of a shell, a flock of birds, the dimensions of the human body, the paths of planets or the form of galaxies, the choreography seems to reflect a natural, universal order of things. On stage, these patterns are often only visible to a trained eye, but spectators will never fail to experience and unconsciously absorb them. In quite a few pieces, moreover, indications as to the patterns used, are visibly marked on the dance floor.

3.

The only measure for time and space on stage is the human body. ATDK works intensely with her dancers. It’s a dynamic relationship in which concrete proposals for movements or dance phrases are transformed and incorporated by the dancers and integrated in the choreographical construction. In turn, the growing choreographical architecture asks for new responses and new materials. And so on. As a result, the growth of the size of the ensemble has had an important effect on the artistic work, just like the introduction of male dancers (in ATDK’s 6th choreography, Mikrokosmos) or the regular entry of new dancers in recent years. It is also a reason why ATDK has never developed a proper dance technique, in the sense of Martha Graham, Merce Cunningham or William Forsythe. At PARTS, students study classical ballet, Forsythe’s improvisation technologies and release techniques; the contact with ATDK’s work happens by dancing her repertoire.

In dance, the body of the dancer can be an ‘abstract’ executing body (although no body is never completely abstract), a character (as in film or theatre) or anything in between. If Cunningham represents the first possibility and Pina Bausch the second, ATDK seems to feel at home in the fascinating ‘grey zone’ in between. In some choreographies, like the operatic pieces Mozart Areas and Ottone Ottone, the dancers come close to representing characters, but in most of her work, ATDK chooses a more suggestive approach, for instance the stylized but definitely female movements in Rosas danst Rosas, or the male/female tension in so many other works. That the actors of STAN dance in the piece In real time, the musicians of Ictus in April me and the singers of graindelavoix in Cesena, only adds more colour to the picture.

The meeting of the male and female universes is a constant element in over 30 years of choreographic creation. In spite of the risk of oversimplification, it is fair to say that the male/female topic has undergone a constant evolution throughout the years. The first only-female pieces start out with a certain feminist flair, a strong statement of the female condition. Later on, the focus of attention shifts to the relationship between men and women, in which love and erotic attraction obviously play a dominant role. Slowly – I couldn’t exactly say when – this relationship comes to denote also something larger: the more universal and abstract male and female principles, the dynamic relationship between Yin and Yang of Taoist philosophy. Man and the universe as dynamic systems in constant movement between attraction and repulsion, opening and closing. In the most recent works, especially En Attendant and Cesena, a new character seems to take centre stage: the community. It is a confusing entity that can both protect and destroy and that lives in continuous tension with the individual. The frivolous groups of beautiful youngsters that I remember from Ottone Ottone, Drumming or A love supreme, have given way to a somewhat austere community of men, women and children, courageously on their way to an uncertain future.

Mark Deputter
18 January 2012

Em Fase, De Keersmaeker estabeleceu uma orientação importante para o seu trabalho posterior, intimamente ligada a uma relação específica entre a música e a dança. Muito embora a sua linguagem do movimento tenha evoluído muito ao longo do tempo, ao criar uma coreografia, Anne Teresa sempre começou com uma análise aprofundada da partitura musical. Neste processo, a primeira condição era que a dança nunca deveria ilustrar a música. A coreografia servia, isso sim, para articular certos princípios básicos de composição utilizados de forma independente e autónoma.

Fase consists of three duets and one solo dance, choreographed to four repetitive compositions by the American minimalist musician, Steve Reich: Piano Phase, Come Out, Violin Phase and Clapping Music. Reich allows his tones to gradually shift in rhythm and melody and between the instruments. The choreography applies the same phase-shifting principle. The purely abstract movements are executed so perfectly that they seem almost mechanical and yet affect us in a strange way. A fascinating experience! Fase is probably Anne Teresa De Keersmaeker’s most frequently performed work.

Coreografia/Choreography Anne Teresa De Keersmaeker Dançado por/Danced by Anne Teresa De Keersmaeker, Tale Dolven Criado com/Created with Jennifer Everhard (Come Out) Michèle Anne De Mey (Piano Phase, Clapping Music) Música/Music Steve Reich: Piano Phase (1967) Come Out (1966) Violin Phase (1967) Clapping Music (1972) Desenho de Luz/Light design Mark Schwentner (Violin Phase, Come Out), Remon Fromont (Piano Phase, Clapping Music) Figurinos/Costumes 1981: Martine André, Anne Teresa De Keersmaeker Estreia mundial/World Premiere 1982, Beursschouwburg (Bruxelas/ Brussels) Produção/Production 1982: Schaamte vzw (Bruxelas/ Brussels), Avila vzw (Bruxelas/ Brussels) 1993: Rosas, De Munt/ La Monnaie (Bruxelas/ Brussels) Co-produção Early Works/Coproduction Early Works Sadler’s Wells (Londres/ London)

O ano de 1983 assistiu ao sucesso internacional de Anne Teresa De Keersmaeker com a peça Rosas danst Rosas. O espetáculo estreou no Festival Kaaitheater, em Bruxelas, e assinalou, simultaneamente, a estreia oficial da companhia Rosas. As quatro bailarinas que originalmente formaram esta companhia eram todas ex-alunas da Mudra School: a Anne Teresa De Keersmaeker e Michèle Anne De Mey juntaram-se Fumiyo Ikeda e Adriana Borriello. A música de Rosas danst Rosas, da autoria de Thierry De Mey e Peter Vermeersch, foi composta em paralelo com a coreografia. A peça é constituída por cinco partes, e tanto a dança como a música baseiam-se em princípios minimalistas e repetitivos.

In Rosas danst Rosas, the repetitiveness of music and movement initiated in Fase is developed even further. The music by Thierry De Mey and Peter Vermeersch was created simultaneously and in interaction with the choreography. Rosas danst Rosas consists of four dancers in rapport with one another and five chapters full of intense physical energy. The drive in this body machine is tempered by a series of ‘very familiar, everyday movements’: the abstraction then changes into a series of small, concrete emotional narratives which the spectator recognizes and is moved by.

Coreografia/Choreography Anne Teresa De Keersmaeker Dançado por/Danced by Tale Dolven, Sandra Ortega Bejarano, Elizaveta Penkóva, Sue-Yeon Youn Criado com/Created by Anne Teresa De Keersmaeker, Adriana Borriello, Michèle Anne De Mey, Fumiyo Ikeda Música/Music Thierry De Mey, Peter Vermeersch Músicos (gravação)/Musicians (recording) Thierry De Mey, Walter Hus, Eric Sleichim, Peter Vermeersch Desenho de luz/Light design Remon Fromont Figurinos/Costumes 1983: Rosas, Reposições: Anne Catherine Kunz Estreia mundial/World Premiere 1983, Kaaitheater festival at Théâtre de la Balsamine (Bruxelas/ Brussels) Produção/Production 1983: Rosas & Kaaitheater Co-produção Early Works/Coproduction Early Works Sadler’s Wells (Londres/ London)

Elena’s Aria reflete a busca da sua autora e as dúvidas que surgem quando a energia confiante dos primeiros projetos se desvanece por breves momentos. Aqui, Anne Teresa De Keersmaeker rompe com o seu fascínio pela repetição e abandona o ritmo e o dinamismo, optando por longos momentos de silêncio e por uma variedade de trechos musicais/vozes que sustentam os movimentos, mas permanecem em segundo plano.

When it was created, Elena’s Aria consisted largely of the choreographer questioning her own work, evaluating her past work and seeking a way forward. In this production, the foundation of repetitive music has disappeared and we only hear arias and noises in the background; the movements have to find their own way. Time and space are filled with feelings that are almost palpable. For the first time in Anne Teresa De Keersmaeker’s work, film images are projected and the spoken word is given a place on stage.

Coreografia/Choreography Anne Teresa De Keersmaeker Dançado por/Danced by Anne Teresa De Keersmaeker, Fumiyo Ikeda, Cynthia Loemij, Samantha Van Wissen, Tale Dolven Criado por/Created by Anne Teresa De Keersmaeker, Michèle Anne De Mey, Nadine Ganase, Roxane Huilmand, Fumiyo Ikeda Música/Music Rinaldo di Capua: Vieni sul mar, O sole mio, Santa Lucia; Georges Bizet: Pêcheurs de perles; Gaetano Donizetti: Lucia di Lammermoor; W. A. Mozart: Sonata c-dur KV 545 facile/andante (Interpretado por/Performed by Friedrich Gulda) Figurinos/Costumes 1984: Rosas, Annette De Wilde; Reposições/Replacements: Anne-Catherine Kunz Desenho de Luz/Light design Anne Teresa De Keersmaeker Estreia mundial/World Premiere 1984, Koninklijke Vlaamse Schouwburg (Bruxelas/ Brussels) Produção/Production 1984: Rosas, Schaamte vzw (Bruxelas/ Brussels), Klapstuk (Lovaina/ Louvain) em colaboração com/in colaboration with Festival van Vlaanderen Co-produção Early Works/Coproduction Early Works Sadler’s Wells (Londres/ London)

Depois de Elena’s Aria, dança e música reúnem-se de novo num encontro feliz nas coreografias de Bartók. O diálogo mútuo entre as disciplinas é retomado. Eis o que diz Anne Teresa De Keersmaeker: “Através da dança, tento sempre apresentar aquilo que me atrai na música, aquilo que me incentiva a dançar. Na verdade, tento fazer o público sentir a beleza, o prazer e a fruição da música através da dança.”

An evening of dance and music in three parts: the dance duet Mikrokosmos, set to a composition by Bela Bartók for two pianos, a musical work by György Ligeti, performed by two pianists, and the dance to the Fourth String Quartet by Bela Bartók. All the music will be performed live. An exciting complicity develops between the musicians and the dancers. Bartók/Mikrokosmos is a performance about dance and music and especially about the pleasure of dancing and playing together, in which the spectator participates simply by watching.

Coreografia/Choreography Anne Teresa De Keersmaeker

Mikrokosmos Seven Pieces for Two Piano’s Dançado por/Danced by Elizaveta Penkóva, Jakub Truszkowski Criado com/Created with Jean Luc Ducourt, Johanne Saunier Música/Music Béla Bartók Interpretado ao vivo por/Performed live by Jean-Luc Fafchamps, Stefan Ginsburgh

Monument / Selbstporträt mit Reich und Riley (und Chopin ist auch dabei) / im zart fliessender Bewegung Música/Music György Ligeti Interpretado ao vivo por/Performed live by Jean-Luc Fafchamps, Stefan Ginsburg

Quatuor n.° 4 Dançado por/Danced by Tale Dolven, Elizaveta Penkóva, Sandra Ortega Bejarano, Sue-Yeon Youn Criado com/Created with Anne Teresa De Keersmaeker, Roxane Huilmand, Fumiyo Ikeda, Nadine Ganase, Johanne Saunier Música/Music Béla Bartók Música interpretada ao vivo por/Music performed live by Ictus Figurinos/Costumes 1987:  Rosas; Reposições/Replacements: Anne-Catherine Kunz Desenho de Luz/Light design Anne Teresa De Keersmaeker, Herman Sorgeloo Estreia mundial/World Premiere 1987, Kaaitheater (Bruxelas/ Brussels) Produção/Production 1987: Rosas, Kaaitheater, Théâtre de la Ville (Paris) Co-produção Early Works/Coproduction Early Works Sadler’s Wells (Londres/ London)

En Atendant é uma criação de 2010, estreada no Festival d’Avignon, no Cloître des Célestins. O ponto de partida de En Atendant é a Ars Subtilior, uma forma altamente refinada de música polifónica do século XIV. A dança evoca a natureza pura mas estratificada da música. Os bailarinos esperam à volta do palco, andam, dançam para o centro e para fora do centro. A poeira sob os pés dos bailarinos espalha-se gradualmente por todo o palco. À medida que a escuridão começa a envolver o palco, os corpos dos bailarinos vão-se tornando meras silhuetas, sombras, anunciando o desaparecimento.

In En Atendant, the starting point is Ars Subtilior, a complex and highly refined form of polyphonic music from the 14th century. The subdued, undulating dance in En Atendant beautifully evokes and compliments the pure but layered nature of the music and the dissonance and unusual contrasts that characterize it. Different constellations of bodies unfold in time and space. The dancers wait around the edges of the empty stage, walk, dance into and away from the center. The delicate transformations in the music are not only echoed in the subtlety and precision of the choreography but also in the changes undergone by the clean physical space. The dust underneath the dancers feet gradually travels across the entire stage, attaches itself to the performer’s bodies, is transported by the currents of air produced by their movements, their breathing. As darkness begins to envelop the stage, the dancer’s bodies become mere outlines, shadows, announcing disappearance.

Coreografia/Choreography Anne Teresa De Keersmaeker Criado com e dançado por/Created with and danced by Bostjan Antoncic, Carlos Garbin, Cynthia Loemij, Mark Lorimer, Mikael Marklund, Chrysa Parkinson, Sandy Williams, Sue-Yeon Youn Música/Music Ars Subtilior Músicos/Musicians Michael Schmid & Cour et Coeur, Bart Coen, An Van Laethem, Els Van Laethem Cenografia/Scenography Michel François Figurinos/Costumes Anne-Catherine Kunz Produção/Production Rosas Co-produção/Coproduction La Monnaie / De Munt  (Bruxelas/ Brussels), Festival Grec (Barcelona), Les Théâtres de la ville de Luxembourg, Théâtre de la Ville (Paris), Festival d’Avignon, Concertgebouw Brugge

CCB / alkantara festival

9 jun 21h30 / 9.30pm

Teatro Camões */ alkantara festival

Para Cesena, Anne Teresa De Keersmaeker e Rosas colaboram com Björn Schmelzer e o seu ensemble Graindelavoix. Esta nova criação pode ser entendida como a continuação do espetáculo anterior, En Atendant. Mas, enquanto neste último o crepúsculo se transformava impercetivelmente em noite, o novo espetáculo saúda o nascimento do dia. São 19 bailarinos e cantores em palco, que exploram os limites das suas capacidades artísticas: os bailarinos cantam e os cantores dançam. Dialogam, mais uma vez, com o repertório da Ars Subtilior, estilo musical francês do século XIV.

For Cesena Anne Teresa De Keersmaeker and Rosas worked closely with Björn Schmelzer and his graindelavoix ensemble. This new production might almost be called the counterpart to its predecessor, En Atendant. Whereas in that piece the twilight merged almost imperceptibly into night, this piece heralds the start of the day. The stage is shared by 19 dancers and singers who explore the limits of their ability. Dancers sing and singers dance, once again in dialogue with the wilful 14th-century scores of the Ars Subtilior.  

Conceito/Concept Anne Teresa De Keersmaeker, Björn Schmelzer Coreografia/Choreography Anne Teresa De Keersmaeker Diretor musical/Musical director Björn Schmelzer Criação e interpretação/Created with and danced by Rosas e graindelavoix, Olalla Alemán, Haider Al Timimi, Bostjan Antoncic, Aron Blom, Carlos Garbin, Marie Goudot, Lieven Gouwy, David Hernandez, Matej Kejzar, Mikael Marklund, Tomàs Maxé, Julien Monty, Chrysa Parkinson, Marius Peterson, Michael Pomero, Albert Riera, Gabriel Schenker, Yves Van Handenhove, Sandy Williams Cenografia/Scenography Ann Veronica Janssens Música/Music Ars Subtilior Produção/Production Rosas Co-produção/Coproduction La Monnaie/De Munt (Bruxelas/ Brussels), Festival d’Avignon, Théâtre de la Ville (Paris), Les Théâtres de la ville de Luxembourg, Festival Oude Muziek Utrecht, Guimarães 2012, Steirischer Herbst (Graz) deSingel (Antuérpia/ Antwerp), Concertgebouw Brugge Estreia mundial/World Premiere 16 julho/july 2011, Festival d’Avignon

O alkantara festival 2012 encerra com um evento excepcional num cenário extraordinário. Björn Schmelzer e o ensemble graindelavoix, em conjunto com Anne Teresa De Keersmaeker e Rosas, apresentam uma versão concertante exclusiva de Cesena. As linhas complexas da música polifónica quatrocentista da Ars Subtilior irão ressonar sob as góticas abóbadas Manuelinas do Mosteiro dos Jerónimos. Ambas as formas de arte, apesar de distantes no tempo e no espaço, formulam uma resposta refinada e sofisticada ao contexto da peste e do desespero que envolveu a sua criação.

The alkantara festival 2012 closes with an exceptional event in an extraordinary setting. Björn Schmelzer and his graindelavoix ensemble, together with Anne Teresa De Keersmaeker and Rosas, present an exclusive concertante version of Cesena. complex lines of their polyphonic 14th century Ars Subtilior will resonate under the Manueline Gothic vaults of the Jerónimos Monastery. Both art forms, although set apart in time and space, formulate a refined and sophisticated answer to the context of plague and despair that surrounded their creation.

Conceito/Concept Anne Teresa De Keersmaeker, Björn Schmelzer Diretor musical/Musical director Björn Schmelzer Com/With graindelavoix e Rosas: Olalla Alemán, Haider Al Timimi, Bostjan Antoncic, Aron Blom, Carlos Garbin, Marie Goudot, Lieven Gouwy, David Hernandez, Matej Kejzar, Mikael Marklund, Tomàs Maxé, Julien Monty, Chrysa Parkinson, Marius Peterson, Michael Pomero, Albert Riera, Gabriel Schenker, Yves Van Handenhove, Sandy Williams Co-produção/Coproduction Rosas, La Monnaie/De Munt (Bruxelas), Festival d’Avignon, Théâtre de la Ville (Paris), Les Théâtres de la Ville de Luxembourg, Festival Oude Muziek Utrecht, Guimarães 2012, Steirischer Herbst (Graz), deSingel (Antuérpia), Concertgebouw Brugge (Bruges) Disco Cesena/Cesena album Songs for popes, princes and mercenaries (c.1400) editado por/edited by Glossa, 2011

alkantara festival 2012

Coreografias:

La Ziva Coreografia: Loïc Touzé Música: Hamsa El Din Gopher Mambo Xtra Coreografia: Jordi L.Vidal Música: Yma Sumac Get on Top Coreografia: Matthieu Bajolet Música: Cream / Prince Moonlight Shadow Coreografia: Anne Teresa De Keersmaeker Música: Moonlight Shadow / Mike Oldfield Codesa Coreografia: George Mxolisi Khumalo Música: Mapansula / T.K.Z.   Performance às 18h DJs a partir das 21h   A love of dance is often sparked through experiencing the doing rather than simply the watching of it. For nearly 20 years, the Bal Moderne has nurtured a growing enthusiasm for dance amongst a very diverse and international public. By enticing participants to learn specially created choreographies made by professional contemporary artists, Bal Moderne has been significant in breaking down barriers between public and artist, between high art and accessibility, between effort and fun, and, most importantly, between the participants themselves. The Bal Moderne teams are no strangers to the Lisbon pubic. Since 1998 we’ve been regular visitors to the city. Now, it’s a delight to deepen and broaden that special relationship though our series of tailor-made Bals during the year that Rosas is in residence.

Coreografias:

La Ziva Coreografia: Loïc Touzé Música: Hamsa El Din Gopher Mambo Xtra Coreografia: Jordi L.Vidal Música: Yma Sumac Get on Top Coreografia: Matthieu Bajolet Música: Cream / Prince Moonlight Shadow Coreografia: Anne Teresa De Keersmaeker Música: Moonlight Shadow / Mike Oldfield Codesa Coreografia: George Mxolisi Khumalo Música: Mapansula / T.K.Z.   Choreographies  La Ziva Choreographie : Loïc Touzé Music: Hamsa El Din Gopher Mambo Xtra Choreographie: Jordi L.Vidal Music: Yma Sumac Get on Top Choreographie: Matthieu Bajolet Music: Cream / Prince Moonlight Shadow Coreografia: Anne Teresa De Keersmaeker Music: Moonlight Shadow / Mike Oldfield Codesa Choreographie: George Mxolisi Khumalo Music: Mapansula / T.K.Z. Performance 6 pm Dance with DJ from 9 pm

Este programa de Anne Teresa De Keersmaeker é composto por três obras essenciais do seu repertório: L’après-midi d’un Faune de Debussy, Grosse Fuge de Beethoven e Noite Transfigurada de Schoenberg. A relação da coreógrafa com a música, que lhe valeu o título de “chorégraphe musicienne”, está bem patente nesta seleção inédita de peças que a Companhia Nacional de Bailado terá o privilégio de interpretar.

This program dedicated to Anne Teresa De Keersmaeker combines three essential works of her repertory: Debussy’s L’après-midi d’un faune, Beethoven’s Grosse Fuge and Schönberg’s Verklärte Nacht. The choreographer received the title of “chorégraphe musicienne” due to the strong connection between her choreographies and the music. This ability is obvious on the unprecedented selection of works that Companhia Nacional de Bailado will have the privilege to dance.

Prelúdio à Sesta de um Fauno Coreografia/Choreography Anne Teresa De Keersmaeker Vocabulário de dança/Dance vocabulary Anne Teresa De Keersmaeker, Rosas, David Hernandez Fragmento de coreografia original/Original choreography fragment Vaslav Nijinski Música/Music Claude Debussy, Prélude à l’après-midi d’un Faune Co-criação/Co-creation Mark Lorimer, Cynthia Loemij, Taka Shamoto, Kosi Hidama, Zsuzsa Rozsavölgyi, Tale Dolven, Kaya Kolodziejczyk, Elizaveta Penkóva Cenário e desenho de luz/Set and Light Design Jan Joris Lamers Figurinos/Costumes Tim Van Steenbergen Assistente de figurinos/Assistant to costumes designer Anne-Catherine Kunz Assistência musical/Musical assistant Alain Franco Análise musical/Musical analysis Alain Franco, Bojana Cvejic Colaboração na pesquisa de material de dança histórica/Collaboration on dance historical research Simon Hecquet Estreia mundial/World Premiere La Monnaie/De Munt, Bruxelas/ Brussels, 17 maio/may 2006 

Grosse Fuge Coreografia/Choreography Anne Teresa De Keersmaeker Música/Music Ludwing van Beethoven, Grosse Fuge, op. 133 Direcção/Direction Jean-Luc Ducourt Cenário e desenho de luz/Set and Light Design Jan Joris Lamers Figurinos/Costumes Nathalie Douxfils Análise musical/Musical analysis Georges-Elie Octors Estreia mundial/World Premiere Halles de Schaerbeek, Bruxelas/ Brussels, 2 fevereiro/february 1992 

Noite Transfigurada Coreografia/Choreography Anne Teresa De Keersmaeker Música/Music Arnold Schoenberg, VerklÄrte Nacht, op. 4 Cenário/Scenography Gilles Aillaud, Anne Teresa De Keersmaeker Figurinos/Costumes Rudy Sabounghi Desenho de luz/Light design Vinicio Cheli Análise musical/Musical analysis Georges-Elie Octors Estreia mundial/World Premiere La Monnaie/De Munt, Bruxelas/ Brussels, 4 novembro/november 1995

Violin Phase é o primeiro solo de Anne Teresa De Keersmaeker. Foi coreografado em 1981 em Nova Iorque. Um ano mais tarde, tornou-se parte integrante de Fase: quatro movimentos para música de Steve Reich. Thierry De Mey filmou, em 2001, a performance de um guindaste de 20 metros de altura. A instalação mostra Anne Teresa De Keersmaeker a dançar na areia branca, os movimentos dos seus pés desenham na areia, uma forma que se assemelha a uma rosa.

Violin Phase is the first solo by Anne Teresa De Keersmaeker. It was choreographed at New York in 1981. An year later was included in Fase: Four movements to the Music of Steve Reich. In 2001, Thierry De Mey filmed the performance from a crane 20 meters high. The installation shows Anne Teresa De Keersmaeker dancing on white sand where the movements of their feet draw a shape that resembles a rose.

Tendo ficada fascinada com Der Abschied (A Despedida), a parte final da Lied von der Erde (Canção da Terra) de Gustav Mahler, Anne Teresa De Keersmaeker convidou Jérôme Bel para trabalhar com ela na criação de um espetáculo para esta música desafiante.  Anne Teresa De Keersmaeker e Jérôme Bel sempre demonstraram um grande interesse mútuo pelo trabalho um do outro. Ao longo de vários anos mantiveram um diálogo artístico intenso e reciprocamente valioso. Apesar das suas óbvias diferenças de estilo, partilham o princípio subjacente de que o palco é mais um lugar para pôr questões do que apenas para entretenimento. 3Abschied é o resultado desta colaboração única.

Having been captivated by the Farewell, the final part of Gustav Mahler’s The Song of the Earth, Anne Teresa De Keersmaeker invited Jérôme Bel to work with her on creating a performance to this challenging music. Anne Teresa De Keersmaeker and Jérôme Bel have always great interest in each other’s work. For several years, they have maintained an intense and mutually valuable artistic dialogue. Despite their obvious differences of style, they share the working principle that the stage is a place for asking questions, rather than just for entertainment. 3Abschied is the result of this unprecedented collaboration.

Conceção/Concept Anne Teresa De Keersmaeker Jérôme Bel Música/Music Gustav Mahler Der Abschied / Das Lied von der Erde Transcrição/Transcription Arnold Schoenberg Músicos/Musicians Orquestra Gulbenkian Maestro/Conductor Georges-Elie Octors Meio-soprano/Mezzo Sara Fulgoni Pianista/Pianist Jean-Luc Fafchamps Dança/Dance Anne Teresa De Keersmaeker

The Song evoca um mundo em aceleração, um mundo que anda tão rápido que se ultrapassa a si próprio. Uma paragem parece inevitável e iminente. No centro desta tempestade está o corpo, uma caixa de ressonância para uma realidade caótica. Dez bailarinos evoluem num palco despido e reduzido ao essencial: luz, som, movimento. O espaço que Anne Teresa De Keersmaeker criou, em colaboração com os artistas visuais Ann Verónica Janssens e Michel François, é um deserto. Uma terra árida que, apesar de tudo, dá ciclicamente lugar à vida.

The Song is about a world that is rushing ahead of itself, dashing at an ever faster tempo. Standstill seems inevitable. As ever, at the heart of this whirlwind of change stands the body. Ten dancers stand on an empty stage. It is stripped to its bare essentials: light, sound and movement. The acting area marked out by Anne Teresa De Keersmaeker, together with the artists Anne Veronica Janssens and Michel François, is a desert. The arid land which in spite of itself gives life to new life.

Um espetáculo de/Performance by Anne Teresa De Keersmaeker, Ann Veronica Janssens, Michel François Criado com e dançado por/Created with and performed by Pieter Ampe, Bostjan Antoncic, Carlos Garbin, Eleanor Bauer, Matej Kejzar, Mark Lorimer, Mikael Marklund, Simon Mayer, Michael Pomero, Sandy Williams Efeitos sonoros/Foley Artist Céline Bernard Cenografia/Scenography Ann Veronica Janssens & Michel François Figurinos/Costumes Anne-Catherine Kunz Ensaiadora/Rehearsal director Muriel Hérault Dramaturgia/Dramaturgy Claire Diez Conselheiros musicais/Musical advisors Eugénie De Mey, Kris Dane Conselheiro de efeitos sonoros/Foley artist advisor Olivier Thys Assistentes da direção artística/ Assistants to the artistic director Anne Van Aerschot, Femke Gyselinck Direção de produção/Production management Johan Penson assistido por/assisted by Tom Van Aken Som/Sound Alex Fostier, Vanessa Court Agradecimentos/Thanks to Jérôme Bel, Tim Etchells, Alain Franco, Deborah Hay, Chrysa Parkinson, Rita Poelvoorde, Michael Schmid, Herman Sorgeloos, Philippe Van Leer, Estreia/Premiere 24 setembro/setember 2009, Théâtre de la Ville, Paris Produção/Production Rosas Co-produção/Coproduction La Monnaie/De Munt (Bruxelas/ Brussels), Théâtre de la Ville Paris, Les Théâtres de la ville de Luxembourg, Concertgebouw Brugge

Drumming (1998) é, sem dúvida, um dos trabalhos mais fascinantes de Anne Teresa De Keersmaeker: uma dança deslumbrante, com música original de Steve Reich, escrita depois de uma viagem de estudo a África em 1970-1971. Tal como na música, a complexidade da coreografia surge de uma única frase de movimento à qual são aplicadas inúmeras variações no tempo e no espaço. Uma lindíssima viagem, uma onda de pura dança e puro som, um turbilhão de energia.

Drumming (1998) is one of Anne Teresa De Keersmaeker’s most fascinating works: a dazzling dance set to a powerful score for percussion by Steve Reich, written in 1970-71, after a study trip to Africa. Just as in the music, the complexity of the choreography arises out of a single phrase of movement to which endless variations in time and space are applied. A stunning journey, a wave of pure dance and pure sound, a vortex of life energy.

Coreografia/Choreography Anne Teresa De Keersmaeker Interpretação/Interpreted by Bostjan Antoncic, Marta Coronado, Tale Dolven, Carlos Garbin, Fumiyo Ikeda, Cynthia Loemij, Valentina Nelissen, Sandra Ortega, Elizaveta Penkóva, Igor Shyshko, Jakub Truszkowsky, Samantha Van Wissen, Sue-Yeon Youn Música/Music Steve Reich Drumming Músicos/Musicians Ictus Cenário e Desenho de luz/Set and light design Jan Versweyveld Figurinos/Costumes Dries Van Noten Produção/Production 1998: Rosas, La Monnaie/ De Munt (Bruxelas/ Brussels) La Bâtie – Festival de Genève Co-produção/Coproduction Les Théâtres de la ville de Luxembourg Estreia/Premiere 7 agosto/august 1998, ImpulsTanz Wien

Depois de estudar dança na Mudra School de Maurice Béjarts, em Bruxelas, e no Departamento de Dança da New York University’s School of the Arts, a coreógrafa Anne Teresa De Keersmaeker começou a sua carreira com Fase, four movements to the music of Steve Reich (1982).

Em 1983 fundou a companhia Rosas, aquando da criação da coreografia Rosas danst Rosas. Com estas coreografias assegurou uma rápida projeção internacional, tendo ambas sido repostas em várias ocasiões, mais recentemente em 2010, no projecto Early Works.

De 1992 até 2007, De Keersmaeker foi a coreógrafa residente no teatro La Monnaie, a Opéra Nacional da Bélgica. Durante este período criou uma vasta série de trabalhos que foram apresentados por todo o mundo. Em 1995, Rosas e La Monnaie criaram conjuntamente o projeto educativo PARTS – Performing Arts Research and Training Studios. Os antigos alunos da licenciatura em dança são hoje bailarinos e coreógrafos de reconhecido mérito, dentro e fora da Europa.

Anne Teresa De Keersmaeker focou, desde sempre, as suas coreografias na relação entre a dança e a música. Trabalhou com composições que abrangem um leque temporal que vai desde o final da Idade Média até ao século XX, estreou criações de George Benjamin, Toshio Hosokawa e Thierry De Mey e colaborou com  diversos músicos e ensembles. Apostou também em géneros diferentes, como o jazz, a música tradicional indiana e a música pop. De Keersmaeker tem uma grande afinidade com as composições de Steve Reich, tendo trabalhado com a sua música em peças como Fase (1983), Drumming (1998) e Rain (2011). As suas coreografias mostram uma aliança em evolução permanente, entre um sentido refinado de arquitetura composicional e uma forte sensualidade ou teatralidade. Esta marca única tem sido distinguida com diversos prémios, entre eles o Samuel Scripps American Dance Festival Award (2011).

De Keersmaeker deixou os limites da dança pura e aventurou-se no mundo da dança e do texto, criando performances que misturam as diferentes disciplinas: Kassandra, speaking in twelve voices (2004), I said (1999), In Real Time (2000). Dirigiu também óperas como Duke Blue-beard’s Castle, de Béla Bartók (1998) e Hanjo de Toshio Hosokawa (2004). Vários dos seus trabalhos transformaram-se em filmes de dança autónomos, realizados pela própria coreógrafa, por Thierry De Mey, Peter Greenaway, entre outros.

Nos últimos anos escolheu caminhar no sentido de repensar e purificar os parâmetros nucleares do seu trabalho como coreógrafa. A colaboração estreita com artistas como Alain Franco (em Zeitung, 2008), Ann Veronica Janssens (Keeping Still part, 2008; The Song, 2009; Cesena, 2011), Michel François (The Song, En Atendant, 2010) e Jérôme Bel (3Abschied, 2010), permitiu-lhe reconsiderar os elementos essenciais da dança: o tempo e o espaço, o corpo e a voz, o seu potencial em movimento e a sua relação com o mundo. O seu trabalho mais recente é o díptico En Atendant e Cesena, composto sobre a música Ars subtilior. Ambos trabalhos estrearam no Festival d’Avignon, ao crepúsculo e ao amanhecer, respectivamente.

After studying dance at Maurice Béjarts Mudra school in Brussels and at the Dance Department of NYU’s School of the Arts, choreographer Anne Teresa De Keersmaeker started her career with Fase, four movements to the music of Steve Reich (1982). She founded the Rosas company in 1983, on the occasion of the creation of Rosas danst Rosas. Both works provided a quick international breakthrough, and have been restaged at different occasions, most recently in the project ‘Early works’ (2010).  From 1992 until 2007 De Keersmaeker was resident choreographer at La Monnaie, the Brussels opera house, creating a wide range of works that have been presented all over the world. In 1995 Rosas and La Monnaie jointly set up the international educational project P.A.R.T.S., the Performing Arts Research and Training Studios. Former students of the four-year curriculum have taken up strong positions as dancers and choreographers in Europe and beyond.

From the very beginning Anne Teresa De Keersmaeker’s choreographies have focused on the relation between music and dance. She has worked with compositions ranging from the late Middle Ages to the 20^th century, premiering creations of George Benjamin, Toshio Hosokawa and Thierry De Mey and collaborating with various ensembles and musicians. She also invested in different genres such as jazz, traditional Indian music and pop music. She has great affinity with Steve Reich’s compositions and has worked with his music in pieces such as Fase (1983), Drumming (1998), and Rain (2001). Her choreographies present an ever evolving marriage between a refined sense of compositional architecture and a strong sensuality or theatricality. This unique signature has been recognised with many awards, most recently the Samuel Scripps / American Dance Festival Award (2011).

De Keersmaeker has also left the confines of pure dance and has ventured into the realms of dance and text, creating performances that blend the different disciplines: Kassandra, speaking in twelve voices (2004), I said I (1999), In Real Time (2000). She has also directed operas as Duke Blue-beard’s castle by Bela Bartók (1998) and Hanjo by Toshio Hosokawa (2004). Several of her works have also been turned in autonomous dance films, directed by a.o. Thierry De Mey, Peter Greenaway and De Keersmaeker herself.

In recent years, she chose a track leading to a strong rethinking and purification of the core parameters of her work as a choreographer. The close collaboration with artists such as Alain Franco (in Zeitung, 2008), Ann Veronica Janssens (Keeping Still part 1, 2008; The Song, 2009; and Cesena, 2011), Michel François (The Song and En Atendant, 2010) and Jérôme Bel (3Abschied, 2010) prompted her to reconsider the bare essentials of dance: time and space, the body and its voice, its potential to move and its relation to the world.  Her most recent work is the diptych En Atendant and Cesena, set to music of the Ars subtilior. Both works premiered at the festival d’Avignon, upon sunset and sunrise respectively.