Anne Teresa De Keersmaeker / Rosas Rosas danst Rosas OCT 1-5, 7:30 PM
Rosas danst Rosas Choreographed by Anne Teresa De Keersmaeker Danced by Laura Bachman, Yuika Hashimoto, Laura Maria Poletti, Soa Ratsifandrihana Created with (1983) Anne Teresa De Keersmaeker, Adriana Borriello, Michèle Anne De Mey, Fumiyo Ikeda Music by Thierry De Mey, Peter Vermeersch Music played by Thierry De Mey (percussion and piano), Walter Hus (piano), Eric Sleichim (saxophone), Peter Vermeersch (clarinet) Lighting design by Remon Fromont Costumes by Rosas Rehearsal Director: Fumiyo Ikeda Artistic coordination and planning by Anne Van Aerschot Technical director, Joris De Bolle Costumes coordinator, Heide Vanderieck Technicians Max Adams and Quinten Maes
World Premiere 06/05/1983, Kaaitheaterfestival in / au / at Théâtre de la Balsamine (Brussel/Bruxelles/Brussels) Production 1983 Rosas & Kaaitheater Coproduction De Munt / La Monnaie, Sadler’s Wells (London), Les Théâtres de la Ville de Luxembourg Running Time: 1 hour 35 minutes Rosas is supported by the Flemish Community and by the BNP Paribas Foundation. Oct 3, Stay Late Conversation with Rosas dancers Laura Bachman, Laura Maria Poletti moderated by Danielle Goldman.
ABOUT THE WORK In 1983, Anne Teresa De Keersmaeker had her international breakthrough with Rosas danst Rosas, a performance that has since become a benchmark in the history of postmodern dance. Rosas danst Rosas builds on the minimalism initiated in Fase (1982): abstract movements constitute the basis of a layered choreographic structure in which repetition plays the lead role. The fierceness of these movements is countered by small everyday gestures. Rosas danst Rosas is unequivocally feminine: four female dancers dance themselves, again and again. The exhaustion and perseverance that come with it create an emotional tension that contrasts sharply with the rigorous structure of the choreography. The repetitive, “maximalistic� music by Thierry De Mey and Peter Vermeersch was created concurrently with the choreography. This restaging of Rosas danst Rosas will be danced by a completely new young cast.
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 of Paris. She pursued further training in the Junior Ballet with which she danced works of Nathalie Pubellier and Cristiana Morganti. After finishing her studies in 2014, she travelled to Japan to perform Le Baiser from the repertoire of Thomas Lebrun. 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.
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