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Die grosse Fuge

Numeridanse 2015 - Director : Narboni, Louise

Choreographer(s) : De Keersmaeker, Anne Teresa (Belgium)

Present in collection(s): Numeridanse

en fr

Die grosse Fuge

Numeridanse 2015 - Director : Narboni, Louise

Choreographer(s) : De Keersmaeker, Anne Teresa (Belgium)

Present in collection(s): Numeridanse

en fr

Die grosse Fuge

De Keersmaeker addresses music using all the nuances of passion: need,  defiance, oneupmanship… The key notion is polyphony. The irresistible  energy that sets free these fluid, nervous bodies – at times openly  insolent, at others exhausted as if conquered by the musics – is  essentially that of “dizzying counterpoint”. Additional voices  continually emerge; new connections or unexpected combinations  multiplying the curves of a spiral of movements in which the audience  joyfully loses all sense of direction. The virtuoso choreography, which  is highly masculine and based on a falling motif, allows us to  appreciate the development of the choreographer’s compositional  technique.


Source: Telmondis

More information: www.telmondis.com

De Keersmaeker, Anne Teresa

In 1980, after studying dance at Mudra School in Brussels and Tisch School of the Arts in New York, Anne Teresa De Keersmaeker (b. 1960) created Asch, her first choreographic work. Two years later came the premiere of Fase, Four Movements to the Music of Steve Reich. De Keersmaeker established the dance company Rosas in Brussels in 1983, while creating the work Rosas danst Rosas. Since these breakthrough pieces, her choreography has been grounded in a rigorous and prolific exploration of the relationship between dance and music. She has created with Rosas a wide-ranging body of work engaging the musical structures and scores of several periods, from early music to contemporary and popular idioms. Her choreographic practice also draws formal principles from geometry, numerical patterns, the natural world, and social structures to offer a unique perspective on the body’s articulation in space and time.

From 1992 until 2007, Rosas was in residence in the Brussels opera house De Munt/La Monnaie. During this period, De Keersmaeker directed a number of operas and large ensemble pieces that have since been performed by repertoire companies worldwide. In Drumming (1998) and Rain (2001), both with Ictus contemporary music ensemble, complex geometric structures in point and counterpoint, together with the minimal motivic music of Steve Reich, created compelling group choreographies that remain iconic and definitive of Rosas as a dance company. Also during her time at La Monnaie, De Keersmaeker created Toccata (1993) to fugues and sonatas of Johann Sebastian Bach, whose music has continued to be a recurring thread in her work. Verklärte Nacht (both the 1995 version for fourteen dancers and the 2014 version for three) unfolded De Keersmaeker’s expressionist side, bringing the stormy narrative of Arnold Schönberg’s late romantic string sextet to life. She ventured into theater, text, and interdisciplinary performance with I said I (1999), In real time (2000), Kassandra - speaking in twelve voices (2004), and D’un soir un jour (2006). She highlighted the use of improvisation within choreography in tandem with jazz and Indian music in such pieces as Bitches Brew / Tacoma Narrows (2003, to the music of Miles Davis), and Raga for the Rainy Season / A Love Supreme (2005).

In 1995 De Keersmaeker established the school P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels in association with De Munt/La Monnaie.

De Keersmaeker’s latest pieces mark a visible "stripping down" of her choreography to essential principles: spatial constraints of geometric pattern; bodily parameters of movement generation, from the utmost simplicity of walking to the fullest complexity of dancing; and close adherence to a score (musical or otherwise) for the choreographic writing. In 2013, De Keersmaeker returned to the music of Bach (performed live) in Partita 2, a duet between herself and Boris Charmatz. Also in 2013, she created Vortex Temporum to the spectral music piece of the same name written in 1996 by Gérard Grisey. Taking her penchant for writing movements from musical scores to an extreme level of sophistication, "Vortex Temporum" had a one-to-one ratio between the Rosas dancers and the live Ictus musicians, bringing the choreography and the music into meticulous dialogue. In 2015 this piece was adapted to a durational exhibition format at WIELS in Brussels under the title Work/Travail/Arbeid. Also in 2015, Rosas premiered "Golden Hours" (« As you like it »), using for the first time a body of text (« Shakespeare’s As You Like It ») as the score for movement, thus allowing the music (Brian Eno’s 1975 album Another Green World) to recede from strict framework to soft environment. Later that year, Anne Teresa De Keersmaeker continued her research into the relationship between text and movement in Die Weise von Liebe und Tod des Cornets Christoph Rilke, a creation based on the eponymous text by Rainer Maria Rilke. At the beginning of 2017 she was invited by the Paris Opera to direct Mozart’s Così fan tutte.

In A Choreographer’s Score, a three-volume monograph published by Rosas and Mercatorfonds, De Keersmaeker offers the performance theorist and musicologist Bojana Cvejić wide-ranging insights into the making of four early works.


Source: The company Rosas 's website


More information : rosas.be

Narboni, Louise

Louise Narboni was born in 1978. After studies in Cinema and operatic singing, she turned to shooting musical films. She is also a musical script, assistant to Opera direction and film editor, most notably on Jean-Paul Civeyrac' films, "Filles en noir" (2010) and "Malika s’est envolée" (2008). Her work includes: in 2011, Brahms 's "Concerto for piano n°2", Dvorak's "Symphony n°5", by the Paris Orchestra and Leif Ove Andsnes, "Les Contes du chat perché", opéra rural, directed by Caroline Gauthier, music by Jean-baptiste Singier (Arte).


Source : Les films de l'air website


More information : lesfilmsdelair.com

Ballet de l'Opéra national de Paris

The Paris Opéra Ballet is the official ballet company of the Opéra national de Paris, otherwise known as the Palais Garnier, though known more popularly simply as the Paris Opéra. Its origins can be traced back to 1661 with the foundation of the Académie Royale de Danse and the Le Ballet de l'Opéra in 1713 by King Louis XIV of France.

The aim of the Académie Royale de Danse was to reestablish the perfection of dance. In the late seventeenth century, using 13  professional dancers to drive the academy, the Paris Opéra Ballet  successfully transformed ballet from court entertainment to a  professional performance art for the masses. It later gave birth to the  Romantic Ballet, the classical form of ballet known throughout the world. The Paris Opéra Ballet dominated European  ballet throughout the eighteenth and early nineteenth centuries and  remains a leading institution in the art of ballet today.


Source: New World Encyclopedia

Die Grosse Fuge

Choreography : Anne Teresa De Keersmaeker

Interpretation : Alice Renavand, Stéphane Bullion, Karl Paquette, Opéra national de Paris Ballet

Stage direction : Jean-Luc Ducourt

Original music : Ludwig Van Beethoven

Production / Coproduction of the choreographic work : Opéra national de Paris

Production / Coproduction of the video work : Idéale Audience, co-production Opéra national de Paris ; Arte France

Telmondis

Created in 1972 and run by Antoine Perset since 2004, Telmondis is one  of France’s largest audiovisual producers of upscale live performances :  opera, ballet, theatre and world-renowned circus performances, musical  shows, classical and contemporary dancing, jazz, world music and  documentaries.


More information: www.telmondis.com

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