Anne Teresa De Keersmaeker - Fase Program

Anne Teresa De Keersmaeker / Rosas Fase, Four Movements to the Music of Steve Reich SEP 24 - 28, 7:30 PM

Fase, Four Movements to the Music of Steve Reich Choreographed by Anne Teresa De Keersmaeker Danced by Laura Bachman, Soa Ratsifandrihana (Sep 24 & 28) Yuika Hashimoto, Laura Maria Poletti (Sep 25, 26, 27) Created with Michèle Anne De Mey, Anne Teresa De Keersmaeker Music by Steve Reich - Piano Phase (1967) - Come Out (1966) - Violin Phase (1967) - Clapping Music (1972) Steve Reich’s Piano Phase, Come Out, Violin Phase & Clapping Music, By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner Lighting design by Remon Fromont Costumes by 1981 : Martine André and Anne Teresa De Keersmaeker Rehearsal Director, Fumiyo Ikeda Artistic coordination and planning by Anne Van Aerschot Technical director, Joris De Bolle Costumes coordinator, Heide Vanderieck Sewing by Maria Eva Rodrigues-Reyes and Charles Gisèle

Technicians Max Adams and Quinten Maes World Premiere 18.03.1982 Beursschouwburg (Brussels) Productie 1982 / Production 1982 Schaamte vzw (Brussels), Avila vzw (Brussels) Coproduction De Munt / La Monnaie, Sadler’s Wells (London), Les Théâtres de la Ville de Luxembourg, Théâtre de la Ville (Paris) Special thanks to Ella De Vos, Stefano Scoli Running Time: 1 hour 10 minutes Rosas is supported by the Flemish Community and by the BNP Paribas Foundation.

Sep 26, Stay Late Conversation with Rosas dancers Laura Maria Poletti, Yuika Hashimoto moderated by Danielle Goldman.

Sep 28, 2 PM Rosas Masterclass led by dancers Yuika Hashimoto and Laura Maria Poletti. Participants will learn the basic material of Fase and explore choreographic tasks like phase shifting – the main dance technique that the performance builds on.

ABOUT THE WORK Fase, Four Movements to the Music of Steve Reich, choreographer Anne Teresa De Keersmaeker’s very first performance, premiered in 1982. Fase comprises three duets and one solo, choreographed to four repetitive compositions by the American minimalist Steve Reich.

De Keersmaeker uses the structure of Reich’s music to develop an independent movement idiom that doesn’t merely illustrate the music but also adds a new dimension to it. Both the music and the dance start from the principle of phase shifting through tiny variations: movements that are initially perfectly synchronous gradually start slipping and sliding, resulting in an ingenious play of continuously changing forms and patterns.

Having always danced Fase herself, Anne Teresa De Keersmaeker, for the first time in the work’s history, now passes it on to four new dancers, alternating between shows.

Fase was initially developed in Choreographers Showcase, now known as New York Live Arts’ legacy program Fresh Tracks.

BIOGRAPHIES 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 wideranging 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. Her newest choreography, set to Bach’s six Brandenburg Concertos, premiered in the fall of 2018.

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 From 1992 until 2007, Rosas improvisation within choreography was in residence in the Brussels in tandem with jazz and Indian opera house De Munt/La music in such pieces as Bitches Monnaie. During this period, De Brew / Tacoma Narrows (2003, Keersmaeker directed a number of 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 August of the same year she creates Mitten wir im Leben sind/Bach6Cellosuiten with the cellist Jean-Guihen Queyras. Her newest choreography, set to Bach’s six Brandenburg Concertos, premiered in the fall of 2018.

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 as well as Drumming, Rain, En Atendant (2010), and Cesena (2011).

Laura Bachman studied ballet at the Paris Opera Ballet school, from 2005 to 2011, before becoming a member of the Paris Opera Ballet in August 2011. With the Opera’s company, she performed in classical ballet productions such as La Bayadère, Giselle and Sleeping Beauty, as well as worked with many choreographers, performing in pieces by Wayne Mcgregor, Benjamin Millepied, John Neumeier, Pina Bausch and more. Laura also toured with the Opera’s company around the world dancing in Moscow at the Bolchoi Theatre, as well as in Japan and Australia. She recently worked with LA Dance Project, Benjamin Millepied’s company, in 2016. Laura performed in Rain and Bartók / Beethoven / Schoenberg with the Paris Opera Ballet, before joining Rosas in August 2016 for the revival of Rain.

Yuika Hashimoto (Japan,1991) has been dancing since she was 3 years old, taking lessons from Yoshie Nagai. She continued her dance education in Tokyo, where she graduated from the Japan Women’s College of Physical Education in March 2014. While she was a student in Tokyo, she also took lessons from Yukari Ota. Yuika graduated from P.A.R.T.S. (Brussels) in June 2016 and then worked with the company Field Works as an intern with whom she

performed carry on at RUCKA in Latvia and PACT Zollverein in Germany. She worked with Yumi Osanai, with whom she performed the creation Hidden Sense. She has been collaborating with the Scarbo saxophone quartet (Belgium) for the project PAGINE since 2015.

Yuika joined Rosas in 2016 for the revival of Rain.

Laura Maria Poletti (France, 1992), started her professional dance education in 2009 at the Paris National Conservatoire (CNSMDP), while simultaneously studying English literature at the University Paris Diderot. In 2013, Laura Maria joined the Training Cycle of P.A.R.T.S (Brussels), where she graduated in June 2016. During the fall of 2014, she performed Spanish Dance with the Trisha Brown Dance Company in Leuven. She worked again under the direction of Diane Madden and Carolyn Lucas as an intern for the last repertory performances of the Trisha Brown company in BAM in January 2016. She was part of a group of P.A.R.T.S students who collaborated on the creation of Dawn with the choreographer Mårten Spångberg, which premiered at Impulstanz (Vienna) in July 2016. She joined Rosas in 2016 for the revival of Rain.

Soa Ratsifandrihana (France, 1994) studied at the National

Conservatory of Music and Dance articles in Dance Research, Dance of Paris. She pursued further Research Journal, Etcetera, training in the Junior Ballet with Movement Research Performance which she danced works of Journal, TDR, and Women & Nathalie Pubellier and Cristiana Performance. In addition to her Morganti. After finishing her writing and teaching, Goldman has studies in 2014, she travelled to performed in the work of Sarah Japan to perform Le Baiser from Michelson, DD Dorvillier, and the repertoire of Thomas Lebrun.

Beth Gill.

She met the stage director Caleb Hammond in New York for whom she danced Helen, at the Brick Theater in Brooklyn. In the same year, Soa joined the Compagnie du Hanneton directed by James Thierrée. She participated in the creation of Tabac Rouge which received the Molière 2014 for best visual creation and did an international tour to the Sydney Festival in Australia, the Chekhov Festival in Russia (Moscow, SaintPetersburg and Yekaterinburg) and the BAM Next Wave Festival in New York, US. In 2015, she collaborated with Salia Sanou on his work Du Désir d’Horizons, a piece inspired by dance workshops conducted in African refugee camps. The première took place in Théâtre de Chaillot in Paris. In 2016, she started working with Rosas for the revival of Rain.

Danielle Goldman (Moderator) is Associate Professor of Critical Dance Studies at Eugene Lang College/The New School and Director of the Contemporary Dance Program. She has published

BECOME A MEMBER AMBASSADOR $50 (student ID or proof of employment required) · 20% off single-ticket purchases per production* · Advance notice of ticket sales and special events

ALLY $65 · 20% off single-ticket purchases per production* · Live Gallery Cafe & merchandise discounts · Advance ticket notice of ticket sales & special events · Free ticket exchange for a different performance of the same program · Opt into a complimentary 1-year membership with Iyengar Yoga

COLLABORATOR $170 All Ally benefits for 2 people plus: · Invitation to HAPPY VIP HOUR** · New York Live Arts logo item

INSIDER $500 All Collaborator benefits plus: · Access to invitation-only performances of the Bill T. Jones/Arnie Zane Company · Recognition in program books · VIP seat privileges · Insider opportunities to meet and see New York Live Arts season performers To become a member, sign up with our front of house staff at the Box Office. *excludes Premium seats, $15 seats, and admissions under $10 **HAPPY VIP HOUR is an opportunity to gather in the lobby with fellow friends ofLive Arts over a glass of wine on the opening nights of our season performances and discussions

LIVE ARTS CONTRIBUTORS The Friends of Live Arts donor wall is dedicated to the individuals and institutions who have made a significant impact on the past, present, and future of our organization. Please join us in honoring the major supporters who have helped make New York Live Arts what it is today. $1,000,000 and higher Anonymous Doris Duke Charitable Foundation Eleanor Friedman Ford Foundation Judith & Steven Gluckstern Helen & Peter Haje Ruth & Stephen Hendel Lambent Foundation Mertz Gilmore Foundation Virginia & Timothy Millhiser National Endowment for the Arts New York City Department of Cultural Affairs New York State Council on the Arts Ellen M. Poss Rockefeller Brothers Fund Slobodan Randjelović & Jon Stryker Lowenstein Sandler Jane Bovingdon Semel & Terry Semel The Andrew W. Mellon Foundation The Fan Fox & Leslie R. Samuels Foundation The Kresge Foundation The Rockefeller Foundation The Shubert Foundation The Wallace Foundation Carol Tolan Trust for Mutual Understanding $500,000 and higher Booth Ferris Foundation Abigail Congdon & Joseph Azrack Zoe Eskin James Hormel & z Michael Nguyen Jerome Foundation Jerome Robbins Foundation JP Morgan Chase

Lorraine Gallard & Richard H. Levy New England Foundation for the Arts New York Community Trust Robert Sterling Clark Foundation The Scherman Foundation $250,000 and higher Anonymous Bloomberg Philanthropies Derek Brown & Deborah Hellman Fred Eychaner Phyllis Friedman Fund for the City of New York Suzanne Karpas Manhattan Borough President’s Office MAP Fund The Howard Gilman Foundation William Penn Foundation Judith Zarin & Gerald Rosenfeld $100,000 and higher Anonymous Jody & John Arnhold Madeline Brine Con Edison Christina & Michael Connelly Creative Capital Foundation Dance/NYC David Buntzman Foundation Anne Delaney Dobkin Family Foundation Muna El Fituri The Florence Gould Foundation Harkness Foundation for Dance The Harmon Foundation Karen Hershey & Larry Green

Susan & Tod Hullin Bill T. Jones & Bjorn Amelan Joseph & Joan Cullman Foundation for the Arts Barbara & Alan Marks Mid Atlantic Arts Foundation Helen Mills & Gary Tannenbaum Jeffrey Neuman William O’Neill Lisa Pevaroff-Cohn & Gary Cohn Matthew Putman Alanna Rutherford Deborah Sale & Ted Striggles Cindy Sherman Marilyn Sobel Stavros Niarchos Foundation Temple St. Clair & Paul Engler Kristalina & Jack Taylor Virginia & Robert Walther Diana Wege Micki Wesson $50,000 and higher American Express Eric Anderson Corice Arman Gilbert Brownstone Carol Bryce-Buchanan Sage & John Cowles Claire Danes & Hugh Dancy Molly Davies & Polly Motley David Dechman & Michel Mercure Quinn Delaney & Wayne Jordan Terence Dougherty & Pierre Duleyrie Olivia Flatto Adam Flatto Foundation for Contemporary Arts Goldman Sachs Agnes Gund

Edward Henry & Susan Monk Cheryl Henson & Ed Finn The Japan Foundation John R. & Kiendl Dauphinot Gordon Fund Colleen Keegan Hedy Klineman In memory of Linda G. Shapiro Lassalle Fund New York Foundation for the Arts Amy Newman & Bud Shulman Kathleen O’Connor & Matt Larrabee O’Donnell-Green Music & Dance Foundation Leonard Pack & Adele Weisman Randy Polumbo SeaChange Capital Partners Martha Sherman Andrea Sholler & Bart Mosley Ronda Stryker & William T. Johnston Patsy & Jeff Tarr Dianne & Daniel Vapnek Veronique & Andrew Vogel Tides Foundation Partners for New Performance Alexes Hazen Julie Orlando Robyn Trani Patrons Circle Lorraine Gallard Margaret Doyle Mark McKenna Meridee Moore & Kevin King Michael and Deborah Goldberg Nancy Meyer & Marc Weiss Nina Stricker Paula Cooper & Jack Macrae Susan Micari Temple St. Clair & Paul Engler The Estate of Samuel A. Miller Thomas Nichols

Tommy McCall Wege Foundation Gala Sponsors Sarah Arison Google Ruth & Stephen Hendel Barbara & Alan Marks David Dechman & Michel Mercure Ellen M. Poss Matthew Putman Slobodan Randjelović & Jon Stryker Diana Wege The Pevaroff Cohn Family Foundation Gala VIPS Anonymous Bloomberg Philanthropies Suzanne Karpas Lorraine Gallard & Richard H. Levy Robert Longo Adam Flatto Randy Polumbo, Plant Construction Cindy Sherman Amy Newman & Bud Shulman Gala Patrons Chris Anderson Robby Browne Christopher Carter Claire Danes & Hugh Dancy Michael Field Eleanor Friedman Patricia Gallup Rachel Shapiro & Chris Grymes Agnes Gund Helen Haje Alexes Hazen Jeffrey & Wendy Liszt Mark O’Donnell Robert Puddicombe Andrea Rosen Pat Stryker Gala Supporters Chris Anderson Jim Anderson Alberta Arthurs Paul Binder Patricia Blanchet Thomas Brenner

Deborah Hellman & Derek Brown Carol Bryce Buchannan Thomas Nichols & Daniel Chadburn Betty Cohen Jonathan Cohen Paul Cronson Caroline Cronson Michael Cummings Emily Dalton Anne Delaney Lil & Jim DeMarse Diller Scofildio + Renfro Margaret Doyle Terence Dougherty & Pierre Duleyrie Douglas Ellis Paul Engler John Riche Ettinger Adele Frankel Charles Gepp Tom & Bobbie Gottschalk Rachel Shapiro & Chris Grymes Andrew Halliday Tom Hennes Amy Karpas Michael Keegan Lawrence & Dana Linden Terrence Meck Sarah Needham Buck Parson & Brinton Parson, First Republic Stephen Bennett & Mihai Patru Joshua Ramus Andrea Rosen Pierre Rougier, PR Consulting Beth Rudin DeWoody Jeffrey Schneider Craig & Kari Shapero Catharine Stimpson Jack & Kristalina Taylor Helen Mills & Gary Tannenbaum Carol Tolan Tim Wu Tommy McCall & Victor Zonana

COME BACK FOR MORE!

Photo: Anne Van Aerschot

ANNE TERESA DE KEERSMAEKER / ROSAS ROSAS DANST ROSAS NEXT WEEK! OCT 1-5, 7:30PM

Anne Teresa De Keersmaeker’s international breakthrough, a performance that has since become a benchmark in the history of postmodern dance.

YANIRA CASTRO | A CANARY TORSI LAST AUDIENCE OCT 16 - 20, 7:30PM

A work embodied by its audience–a live laboratory for the communal work of conjuring.

Tickets can be purchased online at newyorklivearts.org or at the box office before and after the show.