ReMove Dance Festival - Press File Kaaitheater

7/25/2019 ReMove Dance Festival - Press File Kaaitheater

1/24

Exploring Dance Repertoire

Jrme Bel > Pina Bausch Jos LimnBoris Charmatz > Merce Cunningham

Fabin Barba > Mary WigmanNicole Beutler > Mikhail Fokin

Rachel Krische > Deborah HayUnited Sorry > Martha Graham Trisha Brown

Xavier Le Roy > Igor Stravinskydeufert+plischke > deufert+plischkeVincent Dunoyer > Vincent Dunoyer

Jonathan Burrows & Chrysa Parkinson

a Kaaitheater festivalin association with the Beursschouwburg

2 - 13 | 02 | 2010Kaaitheater + Kaaistudios + Beursschouwburg


2/24

2

ContentsContentsContentsContents

INTRODUCTIONINTRODUCTIONINTRODUCTIONINTRODUCTION 3333

AGENDAAGENDAAGENDAAGENDA RE:MOVERE:MOVERE:MOVERE:MOVE 5555

PROGRAMME RE:MOVE BY GENREPROGRAMME RE:MOVE BY GENREPROGRAMME RE:MOVE BY GENREPROGRAMME RE:MOVE BY GENRE 6666

PRACTICAL INFOPRACTICAL INFOPRACTICAL INFOPRACTICAL INFO 7777

PROGRAMMEPROGRAMMEPROGRAMMEPROGRAMME RE:MOVERE:MOVERE:MOVERE:MOVE 8888----21212121

Jrme BelJrme BelJrme BelJrme Bel - Lutz Frster 8

deufert+plischkedeufert+plischkedeufert+plischkedeufert+plischke - ANARCHIV#2: second hand 9

Fabin BarbaFabin BarbaFabin BarbaFabin Barba / Busy Rocks/ Busy Rocks/ Busy Rocks/ Busy Rocks - A Mary Wigman Dance Evening 10

Ruedi GerberRuedi GerberRuedi GerberRuedi Gerber - Breath Made Visible 12

Xavier Le RoyXavier Le RoyXavier Le RoyXavier Le Roy - Le Sacre du Printemps 13

Thierry De MeyThierry De MeyThierry De MeyThierry De Mey - Prlude la Mer 14

United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert)United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert)United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert)United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert) ---- feminine delight 15

Vincent DunoyerVincent DunoyerVincent DunoyerVincent Dunoyer Encore 16

Deborah Hay/Rachel KrischeDeborah Hay/Rachel KrischeDeborah Hay/Rachel KrischeDeborah Hay/Rachel Krische - The Swimmer 17

Nicole BeutlerNicole BeutlerNicole BeutlerNicole Beutler - Les Sylphides 17

Boris CharmatzBoris CharmatzBoris CharmatzBoris Charmatz - Flip book 18

Jonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa Parkinson Dogheart 19

Re:Move Ball!Ball!Ball!Ball! ---- U Dancing Through History 20

Re:Move Talks!Talks!Talks!Talks! 20

Re:MoviesMoviesMoviesMovies!!!! 21

Re:Move Colloquium!Colloquium!Colloquium!Colloquium! 21

ON RE:MOVEON RE:MOVEON RE:MOVEON RE:MOVE

Marianne Van KerkhovenMarianne Van KerkhovenMarianne Van KerkhovenMarianne Van Kerkhoven 22


3/24

3

Exploring Dance RepertoireExploring Dance RepertoireExploring Dance RepertoireExploring Dance Repertoire

2222 ---- 13131313 | 02 || 02 || 02 || 02 | 2020202010101010Kaaitheater + KaaistudiosKaaitheater + KaaistudiosKaaitheater + KaaistudiosKaaitheater + Kaaistudios + Beursschouwburg+ Beursschouwburg+ Beursschouwburg+ Beursschouwburg

aaaa KaaitheaterKaaitheaterKaaitheaterKaaitheater festival in associatifestival in associatifestival in associatifestival in association with theon with theon with theon with the BeursschouwburgBeursschouwburgBeursschouwburgBeursschouwburg

------------------------------------------------------------------------------

TOP INTERNATIONAL CHOREOGRAPHERSTOP INTERNATIONAL CHOREOGRAPHERSTOP INTERNATIONAL CHOREOGRAPHERSTOP INTERNATIONAL CHOREOGRAPHERS

PRESENT A NEW VIEW OF THE 20PRESENT A NEW VIEW OF THE 20PRESENT A NEW VIEW OF THE 20PRESENT A NEW VIEW OF THE 20THTHTHTH----CENTURY DANCE REPERTOIRECENTURY DANCE REPERTOIRECENTURY DANCE REPERTOIRECENTURY DANCE REPERTOIRE

10101010 DANCE PRODUCTIONSDANCE PRODUCTIONSDANCE PRODUCTIONSDANCE PRODUCTIONS, 2 PREMIRES, 2 PREMIRES, 2 PREMIRES, 2 PREMIRES + FILM+ FILM+ FILM+ FILMSSSS + TALKS + COLLOQUIUM + BAL+ TALKS + COLLOQUIUM + BAL+ TALKS + COLLOQUIUM + BAL+ TALKS + COLLOQUIUM + BALLLLL!!!!

The Re:Move dance festival is bringing a very promising group of international dancevery promising group of international dancevery promising group of international dancevery promising group of international dance----

makersmakersmakersmakers to Brussels: Jrme Bel, Boris Charmatz, Fabin Barba, Nicole Beutler, Rachel Krische,

United Sorry, Xavier Le Roy, Jonathan Burrows & Chrysa Parkinson, deufert+plischke, DD

Dorvillier and Vincent Dunoyer.

In their productions they will be offering new interpretations of key moments in the historyinterpretations of key moments in the historyinterpretations of key moments in the historyinterpretations of key moments in the historyof twentiethof twentiethof twentiethof twentieth----century dancecentury dancecentury dancecentury dance, by such artists as Pina Bausch, Merce Cunningham, Trisha

Brown, Mary Wigman and Deborah Hay, and also of Igor Stravinksys Le sacre du printemps.

The festival is also intended to be a tribute to the choreographers Pina Bausch and Merce

Cunningham, who both passed away this summer.

Re:Move is a festival organised by Kaaitheater, in association with the Beursschouwburgfestival organised by Kaaitheater, in association with the Beursschouwburgfestival organised by Kaaitheater, in association with the Beursschouwburgfestival organised by Kaaitheater, in association with the Beursschouwburg, and

is on at three Brussels venuesat three Brussels venuesat three Brussels venuesat three Brussels venues the Kaaitheater, the Kaaistudios and the Beursschouwburg

from 2 to 13 February 2010.

All information on Re:Move can be found at www.kaaitheater.be/removewww.kaaitheater.be/removewww.kaaitheater.be/removewww.kaaitheater.be/remove

Dance is an eminently transient art form because it is hard to note down. However, the

performers in Re:Movehave made the transfer or reconstruction of dance the subject of theirtransfer or reconstruction of dance the subject of theirtransfer or reconstruction of dance the subject of theirtransfer or reconstruction of dance the subject of their

performancesperformancesperformancesperformances:

Jrme BelJrme BelJrme BelJrme Belinvites the dancer Lutz Frsterto look back at his career with Pina Bausch.

The young dancer Fabin BarbaFabin BarbaFabin BarbaFabin Barbahas reconstructed the solos from Mary Wigmans

Schwingende Landschaftcycle (1929) for A Mary Wigman Dance Evening. (co-

produced by Kaaitheater)


4/24

4

Xavier Le RoyXavier Le RoyXavier Le RoyXavier Le Roytook a close look at the movements made by the conductor Simon

Rattle in LeSacre du Printemps, Stravinskys 1913 masterpiece, and used them as the

basis for this choreography.

The trio comprising Steijn, Poelstra and Siewert who together form United SorryUnited SorryUnited SorryUnited Sorry

examines the most feminine of all art forms from a male point of view, focusing on

such female pioneers as Martha Graham and Trisha Brown.

Boris CharmatzBoris CharmatzBoris CharmatzBoris Charmatztook inspiration from a photographic book on that great master of

postmodern dance, Merce Cunningham, and has created a piece of choreography that

forges together the images in these photos as if in a flipbook.

Rachel KrischeRachel KrischeRachel KrischeRachel Krischehas adapted a solo by the American choreographer Deborah HayDeborah HayDeborah HayDeborah Hay: The

Swimmer.

Nicole BeutlerNicole BeutlerNicole BeutlerNicole Beutleris presenting a remake of Mikhail Fokins 1907 work Les Sylphides

the first classical ballet not to tell a story.

Handing down ones own dance material is also the subject of several productions.deufert+plischkedeufert+plischkedeufert+plischkedeufert+plischkework with performers DD Dorvillier and Cecilie Ullerup Schmidt to

reformulate their work. (PREMIERE! co-produced by Kaaitheater).

InEncore, Vincent DunoyerVincent DunoyerVincent DunoyerVincent Dunoyertakes up the role of choreographer to teach five dancers

parts he had previously performed himself.

Jonathan BurrowsJonathan BurrowsJonathan BurrowsJonathan Burrowscontinues to work on the notion of translation, one of his

favourite subjects. Together with Chrysa ParkinsonChrysa ParkinsonChrysa ParkinsonChrysa Parkinson he has madeDogheart

(PREMIERE! Coproduced by Kaaitheater).

In each case, the starting point is the here and now the artists own methods rather than

performing an historical reconstruction.

After some of the performances, several choreographers will talk about the work of the

artists who inspired them. Re:Move TalksRe:Move TalksRe:Move TalksRe:Move Talks On Pina Bausch, Archiving Dance, On Mary

Wigman, On Nijinski, The Memory of the Bodyand On Merce Cunningham 6 free events in

all.

Re:Move also includes film: Ruedi GerberRuedi GerberRuedi GerberRuedi Gerber made Breath Made Visible, a documentary on the

dance icon Anna Halprin, and Thierry De MeyThierry De MeyThierry De MeyThierry De Mey created Prlude la Mer, inspired by NijinskysPrlude laprs-midi dun faune, with the choreographer Anne Teresa De Keersmaeker.

The Re:MoviesRe:MoviesRe:MoviesRe:Movies series of free films includes dance videos on Pina Bausch and Merce

Cunningham.

The Kaaitheater is organising a Re:Move ColloquiumRe:Move ColloquiumRe:Move ColloquiumRe:Move Colloquium, on the re-enactment of dance, in

association with Ghent University.

And, to bring the festival to a festive close, the public will get the chance to learn to dance

highlights from the twentieth-century dance repertoire at the Re:Move BallRe:Move BallRe:Move BallRe:Move Ball.

Info & ticketsInfo & ticketsInfo & ticketsInfo & tickets www.kaaitheater.be/removewww.kaaitheater.be/removewww.kaaitheater.be/removewww.kaaitheater.be/remove


5/24

5

Agenda Re:Move Dance FestivalAgenda Re:Move Dance FestivalAgenda Re:Move Dance FestivalAgenda Re:Move Dance Festival

DI/MA/TU 2 20:30 Jrme Bel, Lutz Frster Kaaitheater

DI/MA/TU 2 >> ZA/SA/SA 13 Re:Movies!

WO/MER/WE 3 20:30 deufert+plischke ANARCHIV #2: secondhand Kaaistudios

20:30 Jrme Bel, Lutz Frster Kaaitheater

22:00 Re:Move Talks: 'On Pina Bausch' Kaaitheater

DO/JE/TH 4 19:00 deufert+plischke ANARCHIV #2: secondhand Kaaistudios

21:00 Re:Move Talk: 'Archiving Dance' Kaaistudios

20:30 Jrme Bel, Lutz Frster Kaaitheater

VR/VEN/FR 5 20.30 Ruedi Gerber, Breath Made Visible Beursschouwburg

20:30 Fabin Barba, A Mary Wigman Dance Evening Kaaistudios22:00 Re:Move Talks: 'On Mary Wigman' Kaaistudios

ZA/SA/SA 6 19:00 Fabin Barba, A Mary Wigman Dance Evening Kaaistudios

19:30 Re:Move Talks: 'On Nijinski' Kaaitheater

20:30 Xavier Le Roy - Le Sacre du Printemps

+ Thierry De Mey - Prlude la Mer Kaaitheater

DI/MA/TU 9 20:30 United Sorry, feminine delight Kaaistudios

20:30 Vincent Dunoyer, Encore Kaaitheater

WO/MER/WE 10 20:30 United Sorry, feminine delight Kaaistudios

20:30 Vincent Dunoyer, Encore Kaaitheater

22:00 Re:Move Talks: The Memory of the Body Kaaitheater

DO/JE/TH 11 20:30 Deborah Hay/Rachel Krische, The Swimmer

+ Nicole Beutler, Les Sylphides Beursschouwburg

VR/VEN/FR 12 11:00 Colloquium UGent Kaaitheater

20:30 Jonathan Burrows & Chrysa Parkinson, Dogheart Kaaistudios

20:30 Deborah Hay/Rachel Krische, The Swimmer

+ Nicole Beutler, Les Sylphides Beursschouwburg

20:30 Boris Charmatz, Flip book Kaaitheater22:00 Re:Move Talks: 'On Merce Cunningham' Kaaitheater

ZA/SA/SA 13 19:00 Jonathan Burrows & Chrysa Parkinson, Dogheart Kaaistudios

20:30 Boris Charmatz, Flip book Kaaitheater

22:00 Re:Move Ball! - U Dancing Through History Kaaitheater


6/24

6

ProgrammeProgrammeProgrammeProgramme Re:MoveRe:MoveRe:MoveRe:Move by genreby genreby genreby genre

PERFORMANCEPERFORMANCEPERFORMANCEPERFORMANCESSSS

Jrme BelJrme BelJrme BelJrme Bel - Lutz Frster 8deufert+plischkedeufert+plischkedeufert+plischkedeufert+plischke - ANARCHIV#2: second hand 9

Fabin BarbaFabin BarbaFabin BarbaFabin Barba / Busy Rocks/ Busy Rocks/ Busy Rocks/ Busy Rocks - A Mary Wigman Dance Evening 10

Xavier Le RoyXavier Le RoyXavier Le RoyXavier Le Roy - Le Sacre du Printemps 13

United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert)United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert)United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert)United Sorry (Robert Steijn / Frans Poelstra / Martin Siewert) ---- feminine delight 15

Vincent DunoyerVincent DunoyerVincent DunoyerVincent Dunoyer Encore 16

Deborah Hay/Rachel KrischeDeborah Hay/Rachel KrischeDeborah Hay/Rachel KrischeDeborah Hay/Rachel Krische - The Swimmer 17

Nicole BeutlerNicole BeutlerNicole BeutlerNicole Beutler - Les Sylphides 17

Boris CharmatzBoris CharmatzBoris CharmatzBoris Charmatz - Flip book 18

Jonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa Parkinson Dogheart 19

FILMFILMFILMFILM

Ruedi GerberRuedi GerberRuedi GerberRuedi Gerber - Breath Made Visible 12

Thierry De MeyThierry De MeyThierry De MeyThierry De Mey - Prlude la Mer 13

Re:Movies!Movies!Movies!Movies! 21

TALKSTALKSTALKSTALKS

Re:Move Talks!Talks!Talks!Talks! 20

BALLBALLBALLBALLRe:Move Ball!Ball!Ball!Ball! ---- U Dancing Through History 20

COLLOQUIUMCOLLOQUIUMCOLLOQUIUMCOLLOQUIUM

Re:Move Colloquium!Colloquium!Colloquium!Colloquium! 21


7/24

7

Practical InfoPractical InfoPractical InfoPractical Info

PressPressPressPress

ContactContactContactContact

Katelijne Meeusen

T 02 274 03 64

M 0497 88 36 27

E [email protected]

High res images can be found on www.kaaitheater.be/presswww.kaaitheater.be/presswww.kaaitheater.be/presswww.kaaitheater.be/press

AAAAdddddressesdressesdressesdresses &&&& CCCContactontactontactontact

KaaitheaterKaaitheaterKaaitheaterKaaitheater

Sainctelettesquare 20 square Saintelette 1000 Brussels

KaaistudiosKaaistudiosKaaistudiosKaaistudios

Onze-Lieve-Vrouw van Vaakstraat 81 rue Notre-Dame du Sommeil 1000 Brussels

TicketsTicketsTicketsTickets

Ticketshop:Ticketshop:Ticketshop:Ticketshop:

Sainctelettesquare 19 square Saintelette 1000 Brussels

T 02 201 59 59

DI/MA/TU-VR/VEN/FRI11:00-18:00

[email protected]@[email protected]@kaaitheater.be

www.kaaitheater.bewww.kaaitheater.bewww.kaaitheater.bewww.kaaitheater.be

www.kaaitheater.bewww.kaaitheater.bewww.kaaitheater.bewww.kaaitheater.be/remove/remove/remove/remove


8/24

8

------------------------------------------------------------------------------

Jrme BelJrme BelJrme BelJrme Bel [FR]

Lutz Frster

2, 3, 4/02/2010 20:30 Kaaitheater

dance theatre | in English | 60 min. | 15/12------------------------------------------------------------------------------concept Jrme Bel | by and with Lutz Frster | production Springdance (Utrecht), R.B. Jrme Bel (Paris) | R.B.

Jerome Bel is supported by the Direction rgionale des affaires culturelles dIle-de-France (French Ministry of

Culture and Communication) and by Cultures France (French Ministry for Foreign Affairs) for its international tours

With extracts from pieces by Pina Bausch (Kontakthof, 1980 - Ein Stck von Pina Bausch,

Nelken, Ahnen, Fr die Kinder von gestern, heute und morgen), Jos Limn (The Moors

Pavane)

In Lutz Frster, the French choreographer Jrme Bel will be bringing Lutz Frster to the

stage, one of the dancers of Pina Bauschs Tanztheater Wuppertal. Frster will review his

career as a dancer with Pina Bausch, Susanne Linke, the Jos Limon company and Bob

Wilson.The work Lutz Frster(2009) is part of a series: Vronique Doisneau(2004), Pichet

Klunchun and myself(2005), Cdric Andrieux(2009). Each piece is named after the artist by

whom it is performed. Their work embraces a variety of traditions: classical ballet, classical

Thai dance, American modern dance and German Tanztheater. They tell a personal story of

their personal experience with the important developments of Western or Asian

choreography.

extraordinarily beautiful solo () a splendid icon of a dancers self-assurance - de

Volkskrant

www.jeromebel.fr

www.catalogueraisonne-jeromebel.com

+ Re:Move Talk: 'Pina Bausch': 3/2, 22:00


9/24

9

------------------------------------------------------------------------------

deufert+plischke / DD Dorvilliedeufert+plischke / DD Dorvilliedeufert+plischke / DD Dorvilliedeufert+plischke / DD Dorvillierrrr [DE/US]

ANARCHIV#2: second hand

3/02/2010 20:30 premirepremirepremirepremire

4/02/2010 19:00 Kaaistudios

dance | 12,5/10 co-produced by Kaaitheater------------------------------------------------------------------------------

Give me your material and I will show you what you are not doing with it; this could be the

motto for ANARCHIV.In this series, the artistwins Kattrin Deufert and Thomas Plischke look

back at the works they have made together over the last eight years. They reformulate

characteristic themes and motifs in a new work.

For each ANARCHIVproject they cooperate with other artists who are familiar with their

work. They offer their material and let their guests open it up, analyse it, adapt it, and

change it to suit themselves. For this production, they work together with New York

choreographer DD Dorvillier and Cecilie Ullerup Schmidt.

www.artistwin.dewww.artistwin.dewww.artistwin.dewww.artistwin.de

DD DorvillierDD DorvillierDD DorvillierDD Dorvillier, Choreography, a Prologue for the Apocalypse of Understanding, Get Ready!

19 & 20/03/2010 - Kaaitheater

DD Dorvillier will be returning to the Kaaitheater in the early spring. Now with her own

company and the composer Zeena Parkins, she will be presenting a sparkling dance

production on the theme of our defective communication (see the splendid title).

+ Re:Move Talk: 'Archiving Dance', with Kattrin Deufert, Thomas Plischke, DD

Dorvillier, Cecilie Ullerup Schmidt & Timmy De Laet (interview): 4/02 21:00


10/24

10

------------------------------------------------------------------------------

Fabin BarbaFabin BarbaFabin BarbaFabin Barba / Busy Rocks/ Busy Rocks/ Busy Rocks/ Busy Rocks [EC/BE]

A Mary Wigman Dance Evening(previously announced as Shifting Landscape)

5/02/2010 20:30 Kaaistudios

6/02/2010 19:00

dance | 12,5/10 co-produced by Kaaitheater------------------------------------------------------------------------------

concept & dance Fabin Barba | production K3 - Zentrum fr Choreographie (Tanzplan Hamburg) | co-production

wpZimmer (Antwerp) Kaaitheater (Brussels), fabrik Potsdam (Tanzplan Potsdam: Artists-in-Residence) | support

PACT/Zollverein (Essen), Mary Wigman Gesellschaft | executive producer Caravan Production vzw | thanks to

Katharine Sehnnert, Irene Sieben, Susanne Linke, Stephan Drschel, Timmy De Laet & 'many other thanks to the

many other people that have come to see rehearsals and had given me their time to let me know about their

impressions, comments and share their knowledge with me.' | costumes Sarah-Christine Reuleke | music Hanns

Hasting (Anruf, Pastorale, Seraphisches Lied, Sturmlied, Sommerlicher Tanz), Sascha Demand (Raumgestalt,

Zeremonielle Gestalt, Drehmonotonie)

While studying, the young Ecuadorian choreographer Fabin Barba became fascinated by one

of the pioneers of modern dance: the German dance artist Mary Wigman. In the early 1930sshe took her expressionist dance recitals across the ocean for the first time. She changed

American dance forever and even today still has an influence on the artistic life of Ecuador.

Fabin Barba was still a student at P.A.R.T.S. when he started working on Wigmans

Schwingende Landschaft, a series of seven dance solos created in 1929. He reconstructed

three of them on the basis of sketches done by Wigman herself. For A Mary Wigman Dance

Eveninghe quotes from the whole of her oeuvre. The challenge lies in the tension between

his reconstruction and the original.

Fabin Barba is a member of the Busy Rocks collective together with Marisa Cabal, Tuur

Marinus, Franziska Aigner and Gabriel Schenker.

www.busyrocks.orgwww.busyrocks.orgwww.busyrocks.orgwww.busyrocks.org

+ Re:Move Talk: 'On Mary Wigman', interview with Fabin Barba by Christel

Stalpaert


11/24

11

ProgrammeProgrammeProgrammeProgramme

Aus dem Tanzcyklus Schwingende Landschaft (1929)

From the Dance Cycle, 'Shifting Landscape'

1 . Seraphisches Lied / Seraphic Song

2 . Gesicht der Nacht / Face of the Night

3 . Pastorale / Pastorale4 . Anruf / Invocation

5 . Sturmlied / Storm Song

6 . Sommerlicher Tanz / Summer's Dance

Intermission - Eight Minutes

Aus den Visionen - From 'Visons'

7 . Raumgestalt (1928) / Space Figure

8 . Zeremonielle Gestalt (1925 / Ceremonial Figure

Aus der Feier / From 'Celebration'

9 . Drehmonotonie (1926) / Monotony Whirl Dance

Fabin Barba:Fabin Barba:Fabin Barba:Fabin Barba:

Only about a century ago modern dance started to exist in Europe. Important innovators

like Rudolf von Laban, Isadora Duncan, Ruth St Denis and Mary Wigman, among others, tried

to break with the conventions of classical ballet by devising new techniques and movement

languages. Challenging the values and conventions of bourgeois societies, they sought to

create a dance that would express the new and freer spirit of the time, their time. In this

manner, their work set into the dance world some modernist imperatives such as innovation,

authenticity and individuality, notions with which weve been busy all along up to our days.

For A Mary Wigman Dance Evening, I took as a starting point the performances Wigmanoffered during her first tour through the United States in 1930-31. Thus, Ive come to gather

a recital composed of nine short soli. Three of those were learned from videos of Wigman

dancing herself. For the other dances I had access to three different kinds of sources:

photos, texts written by Wigman and newspaper reviews of the period. From these sources

its not possible to recuperate something such as an 'original', but it's possible to deduce the

themes, moods, movement qualities and gestural vocabularies based on which I created new

dances myself.

For these new creations, I placed myself on the fictional set-up that I was a student in the

Wigman School in the thirties and that I was creating these soli to present them in that

school, with that audience. To help me out, I made use of yet two other sources: the work

with three ex-students of the Wigman school in the sixties, with their memories and body

knowledge, and my former training in modern dance in Quito from which I've derived many

technical tools that have helped me to create and perform these dances.

Some texts that talk more extensively about the motivations, method and questions that

have appeared throughout this project can be found at www.busyrocks.org


12/24

12

------------------------------------------------------------------------------

Ruedi GerberRuedi GerberRuedi GerberRuedi Gerber (CH)

Breath Made Visible

5/02/2010 20:30 Beursschouwburg

film | 2009, in English, French subtitles, 80 min. | free------------------------------------------------------------------------------

A probing documentary on the fascinating life of the dance icon, pioneer and performer

Anna Halprin. Last season, Anne Collod and guests presented a tremendous reinterpretationof Halprins 1965 piece Parades and Changes. Halprin sees dance as a response to our social

and natural surroundings. Art and life fuse in her work and her attitude to life. Ruedi

Gerbers film is a stunning tribute to this magnificent dancer, choreographer and teacher.

The film was one of the highlights of the Locarno film festival earlier this year.


13/24

13

------------------------------------------------------------------------------

double bill

Xavier Le RoyXavier Le RoyXavier Le RoyXavier Le Roy [DE]

Le Sacre du Printemps++++

Thierry De MeyThierry De MeyThierry De MeyThierry De Mey [BE]

Prlude la Mer presented by Charleroi Danses & Kaaitheater

6/02/2010 20:30 Kaaitheater

performance + film | 70 min. + intermission + 17 min. | 15/12------------------------------------------------------------------------------

Le Sacre du PrintempsLe Sacre du PrintempsLe Sacre du PrintempsLe Sacre du Printemps concept, performance Xavier Le Roy | music Igor Stravinsky | sound design Peter Bhm |

recording Berliner Philharmoniker, conducted by Sir Simon Rattle | production in situ productions (D), Le Kwatt (F) |

co-production Centre chorgraphique national de Montpellier Languedoc-Roussillon (Xavier Le Roy Associated

Artist 2007/08), Les Subsistances / Residence (Lyon), Tanz im August / Internationales Tanzfest 2007 (Berlin), pact

Zollverein Choreographisches Zentrum NRW (Essen) | supported by the national performance network with funding

provided by the German Federal Cultural Foundation as part of its project Dance Plan Germany

When the choreographer Xavier Le Roy discovered pictures of rehearsals of Le Sacre du

Printemps by the Berlin Philharmonic on a dvd, he was immediately fascinated by the

movements of the conductor, Simon Rattle. Without any musical knowledge, he started on an

analysis of Stravinskys masterpiece and more especially Rattles interpretation, which he

analyses as a work of choreography in its own right, one whose signs and movements seem

both to lead and to follow the music. This double interplay brings a reversal of the usual

relationship of cause and effect: what came first, the music or the movement? To what

extent do you play the music and to what extent are you played by it? This is a virtuoso solo

in which you, the spectator, are stimulated by a clever and witty interaction of visual andauditory sensations.

Un solo unique, sensuel, musical, absurde et burlesque Le Monde de la Musique

www.insituproductions.netwww.insituproductions.netwww.insituproductions.netwww.insituproductions.net

+ Re:Move Talk: 'On Nijinski', introduction by Christel Stalpaert: 6/02, 19:30


14/24

14

Prlude la MerPrlude la MerPrlude la MerPrlude la Mer a film by Thierry De Mey | choreography Anne Teresa De Keersmaeker | music Prlude l'aprs-

midi d'un faune, Claude Debussy | played by the Brussels Philharmonic Vlaams Radio Orkest | direction Michel

Tabachnik | created and danced by Mark Lorimer, Cynthia Loemij | production Charleroi/Danses, Sophimages,

Eroca productions, Rosas | support Vlaams Audiovisueel Fonds, Arte France, Cit de la Musique/Paris,

Flagey/Brussels, CBA | www.charleroi-danses.be

Thierry De Meys Prlude la Mer is a dance film with music by Claude Debussy. AnneTeresa De Keersmaeker's choreography is inspired on NijinskysPrlude laprs-midi dun

faune.

Thierry De Mey:Thierry De Mey:Thierry De Mey:Thierry De Mey:

Le Prlude laprs midi dun faune sur la musique de Claude Debussy daprs le texte de

Stphane Mallarm, est le sublime pome musical de lphmre, de labsence, de la

disparition.

Un faune se demande si les nymphes qui ont chapp ses assiduits amoureuses ntaient

pas aprs tout, quune chimre : aimais-je un rve ?...Perptuer ces nymphes, faire durerlphmre, sapproprier ce qui ne peut que disparatre

Nous avons le projet de confronter la chorgraphie dAnne Teresa De Keersmaeker, servie

par deux interprtes de rve Marc Lorimer et Cynthia Loemij la duret dun lieu

catastrophe : le site dune mer en voie de disparition, la mer dAral.

Un faune androgyne (par jeu de substitution homme/femme) se perd dans la qute

impossible de retenir ce qui ne peut que disparatre. Il/elle trace les mouvements de son

inassouvissement, en errant dans lempreinte de la mer qui fut : steppe de sel, paysages

au sol craquel, temptes de sable, cimetire dpaves de bateaux, phares en plein dsert,

villages fantmes ensabls sous le vent.

Lorsquil/elle trouve enfin le rivage actuel, au dernier plan du film, limage de la mer son

tour disparat en un long fondu au blanc. Peuvent alors rsonner les premiers accords de La

Mer de Debussypar exemple.


15/24

15

------------------------------------------------------------------------------

United SorryUnited SorryUnited SorryUnited Sorry [NL/AT]

Robert Steijn / Frans Poelstra / Martin SiewertRobert Steijn / Frans Poelstra / Martin SiewertRobert Steijn / Frans Poelstra / Martin SiewertRobert Steijn / Frans Poelstra / Martin Siewert

feminine delight

9, 10/02/2010 20:30 Kaaistudios

dance/performance | in English | 105 min. | 15/12------------------------------------------------------------------------------

by Robert Steijn, Frans Poelstra, Martin Siewert | production Studio Entre Nous / Andr Agterof | co-production

steierischer herbst (Graz), Tanzquartier (Vienna), CNDC Angers, Centre Chorographique National de Montpellier

Languedoc-Roussilon | support Nederlands Fonds Podiumkunsten

with the extra support of

Three men put the role of women in modern dance under the microscope, with plenty of

added humour. The dramaturge and writer Robert Steijn plays a woman who believes

devoutly in everything she does. He becomes a Martha Graham and thereby reaps great

success, until he goes out of fashion and takes to drink. He dies, but is reincarnated as a

Trisha Brown, who takes a postmodern approach to seeking contact with a new audience.

The dancer and choreographer Frans Poelstra remains his supportive muse throughout this

transformation process. Martin Siewert provides live musical accompaniment for the duo.

The result is an absurdly comical musical on suffering, working hard and living as a diva.

www.unitedsorry.comwww.unitedsorry.comwww.unitedsorry.comwww.unitedsorry.com


16/24

16

------------------------------------------------------------------------------

Vincent DunoyerVincent DunoyerVincent DunoyerVincent Dunoyer [BE]

Encore

9, 10/02/2010 20:30 Kaaitheater

Dance | 15/12 co-produced by Kaaitheater------------------------------------------------------------------------------

concept, choreography Vincent Dunoyer | performers Eva Baumann, Helena Golab, Veli Lehtovaara, Tuur Marinus,

Guillem Mont de Palol | production Mokum vzw | co-production Kaaitheater, PACTZollverein, Dans in Limburg | in

association with Rosas | support Vlaamse Gemeenschap

choreographic material:choreographic material:choreographic material:choreographic material:

Anne Teresa De Keersmaeker, Etienne Guilloteau, Raimund Hoghe, Steve Paxton, Wim VandekeybusAnne Teresa De Keersmaeker, Etienne Guilloteau, Raimund Hoghe, Steve Paxton, Wim VandekeybusAnne Teresa De Keersmaeker, Etienne Guilloteau, Raimund Hoghe, Steve Paxton, Wim VandekeybusAnne Teresa De Keersmaeker, Etienne Guilloteau, Raimund Hoghe, Steve Paxton, Wim Vandekeybus

The title of Vincent Dunoyers latest work is Encore, and in French this also sounds like en

corps, literally meaning in the body. Vincent Dunoyer is interested not only in movement

itself, but in how movements are handed on and change depending on the body, the story,

time and the context.

In developing his repertoire as a dancer, Dunoyer has worked with such choreographers as

Steve Paxton, Anne Teresa De Keersmaeker, Wim Vandekeybus and Raimund Hoghe. InEncorehe has this work danced by five other dancers, which is a double change of role: five

young dancers take over Dunoyers role as a dancer, while Dunoyer takes on the role of

choreographer. By reorganising this dance material in time and space, his aim is to create

new, unexpected poetic associations.

De Morgen: Encore provides a crash course in recent dance history. It is also a melancholy

musing on the transience of dance.

www.mokum.bewww.mokum.bewww.mokum.bewww.mokum.be

+ Re:Move Talk: The Memory of the Body, with Vincent Dunoyer a.o.:

10/02, 22:00


17/24

17

------------------------------------------------------------------------------

Deborah Hay/Rachel KrischeDeborah Hay/Rachel KrischeDeborah Hay/Rachel KrischeDeborah Hay/Rachel Krische (GB/US)

The Swimmer

++++

Nicole BeutlerNicole BeutlerNicole BeutlerNicole Beutler (D)

Les Sylphides

11 + 12/02/2010 20:30 Beursschouwburgdance | double bill: 22 + 30 min. + intermission

12/10 (advance sale 10/8) | tickets at Beursschouwburg or Kaaitheater------------------------------------------------------------------------------

The SwimmerThe SwimmerThe SwimmerThe Swimmer choreography Deborah Hay | adaptation, dance Rachel Krische

Les SylphidesLes SylphidesLes SylphidesLes Sylphidesconcept, remake, direction Nicole Beutler | performers Bojana Mladenovic, Charlotte van den Reek,

Marta Reig Torres

For The Swimmer, the London dancer and choreographer Rachel Krische adapted a solo byDeborah Hay. In the sixties Hay was a member of the legendary Judson Dance Theatre. In her

dance, Krische liberates herself entirely from any structured, interpretable movement and

aims for total freedom. Her comical, sometimes grotesque solo is the result of fruitful

collaboration with Hay herself.

Nicole Beutler is presenting a remake of Les Sylphides(Mikhail Fokin, 1907), the first

classical ballet not to tell a story. She is fascinated by the beauty and precision of the

original, and wishes to re-experience its essence and magic. The audience is almost literally

on top of the dancers and witnesses the metamorphosis from person to performer. The

choice of dancers and the unusual position of the audience create friction between past and

present.


18/24

18

------------------------------------------------------------------------------

Boris CharBoris CharBoris CharBoris Charmatzmatzmatzmatz [FR]

Flip book(previously announced as50 years of dance)

12, 13/02/2010 20:30 Kaaitheater

dance | ca. 60 min. | 15/12------------------------------------------------------------------------------

concept Boris Charmatz | lighting Yves Godin | performers Raphalle Delaunay, Olivia Grandville, Marlne Monteiro

Freitas, Laurent Pichaud, Boris Charmatz, Pascal Queneau a.o. | production Muse de la danse / Centre

chorgraphique national de Rennes et de Bretagne - direction Boris Charmatz | support Ministre de la Culture et de

la Communication (Direction Rgionale des Affaires Culturelles / Bretagne), la Ville de Rennes, le Conseil rgional de

Bretagne et le Conseil gnral dIlle-et-Vilaine, Culturesfrance | thanks to LiFE (St Nazaire), HZ (Berlin), Centre de

dveloppement chorgraphique (Toulouse)

with the extra support of

In his latest project, Flip book, the French choreographer Boris Charmatz is using the workof Merce Cunningham, the great American master of postmodern dance. The starting point

for this piece is David Vaughns book Merce Cunningham: Fifty Years, containing photos and

drawings of all his creations and portraits of him and his dancers too.

Charmatz: All these pictures together represent almost his entire oeuvre, but also form a

piece of choreography in themselves, in a way that is very similar to the method

Cunningham uses in his creative process: dance is to be found between two poses or

positions. I think it must be possible to create a piece that starts from this sequence of

images, performed from beginning to end.

In this way, Flip bookis the story of a lifes work captured in a book which in its turn is

transformed into a performance by a handful of dancers.

www.museedeladanse.org

+ Re:Move Talk: 'On Merce Cunningham', interview with Boris Charmatz by

Danille de Regt: 12/02 22:00


19/24

19

------------------------------------------------------------------------------

Jonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa ParkinsonJonathan Burrows & Chrysa Parkinson [BE]

Dogheart

12/02/2010 20:30 premire

13/02/2010 19:00 Kaaistudios

dance | 15/12 co-produced by Kaaitheater------------------------------------------------------------------------------

For the past ten years Jonathan Burrows has been concentrating on one-to-one

collaborations, as powerful as they are witty, with other artists, beginning with Weak DanceStrong Questions with theatre director Jan Ritsema, followed by five duets (to date) with the

composer Matteo Fargion, including the Both Sitting Duettrilogy, and the diptych Cheap

Lectureand A Not Very Subtle Representation of Resilience through Dance.

For Re:Move Burrows will create a piece with the dance artist Chrysa Parkinson, taking as

its starting point a love of translation and a curiosity about narrative. Chrysa Parkinson is

known to Brussels audiences from her work with Zoo, as well as other artists including

Deborah Hay (see p. 22) and Mette Ingvartsen. She previously worked with Jonathan Burrows

on the Kaaitheater version of Thomas Lehmen's Schreibstuck.


20/24

20

Ball!Ball!Ball!Ball!------------------------------------------------------------------------------

U Dancing Through History

13/02/2010 22:00 Kaaitheater

Using some kind of copy-and-paste, Maria Clara Villa Lobos lets you dance some of the big

moments from the 20th-century dance repertoire yourself.

TalkTalkTalkTalks!s!s!s!------------------------------------------------------------------------------

Five evenings when, watching videos and talking, we examine the work of the

choreographers who are quoted and/or adapted in Re:Move. Free! (all talks in English)

3/023/023/023/02, 22:00, Kaaitheater: ''''OnOnOnOn Pina BauschPina BauschPina BauschPina Bausch 4/024/024/024/02, 21:00, Kaaistudios: 'Archiving Dance''Archiving Dance''Archiving Dance''Archiving Dance', interview with Kattrin Deufert,

Thomas Plischke, DD Dorvillier & Cecilie Ullerup Schmidt by Timmy De Laet

5/025/025/025/02, 22:00, Kaaistudios: ''''OnOnOnOn Mary Wigman'Mary Wigman'Mary Wigman'Mary Wigman', interview with Fabin Barba by

Christel Stalpaert

6/026/026/026/02, 19:30, Kaaitheater: ''''OnOnOnOn Nijinski'Nijinski'Nijinski'Nijinski', introduction by Christel Stalpaert

10101010/02/02/02/02, 22:00, Kaaitheater: The Memory of the BodyThe Memory of the BodyThe Memory of the BodyThe Memory of the Body, with Vincent Dunoyer a.o.

12/0212/0212/0212/02, 22:00, Kaaitheater: ''''OnOnOnOn Merce Cunningham'Merce Cunningham'Merce Cunningham'Merce Cunningham', interview with Boris

Charmatz by Danille de Regt


21/24

21

Re:MoviesRe:MoviesRe:MoviesRe:Movies!!!!------------------------------------------------------------------------------

2>13/02/2010 before & after the performances Kaaitheater

free!

Before and after the performances at the Kaaitheater you can watch a superb selection of

dance films and videos in the foyer. Free!

- CHANTAL AKERMAN, Un Jour Pina a demand. On tour with Pina Bausch (1982)

- CHARLES ATLAS, A Video Tribute to Merce Cunningham (2009)

- NAM JUNE PAIK, Merce by Merce by Paik (1978)

- WALTER VERDIN, Goldberg Variations (1992)

Colloquium!Colloquium!Colloquium!Colloquium!------------------------------------------------------------------------------

Re-enacting the Dance: Reconstruction or

Critical Intervention?

12/02/2010 11:00>17:30 Kaaitheater

in Dutch and English |in Dutch and English |in Dutch and English |in Dutch and English | free | please book on 02 201 59 59free | please book on 02 201 59 59free | please book on 02 201 59 59free | please book on 02 201 59 59

organ. Kaaitheater & Department of Performance and New Media Studies of Ghent Universityorgan. Kaaitheater & Department of Performance and New Media Studies of Ghent Universityorgan. Kaaitheater & Department of Performance and New Media Studies of Ghent Universityorgan. Kaaitheater & Department of Performance and New Media Studies of Ghent University

programme details as from January 15 onprogramme details as from January 15 onprogramme details as from January 15 onprogramme details as from January 15 on www.kaaitheater.bewww.kaaitheater.bewww.kaaitheater.bewww.kaaitheater.be

How can dance be reconstructed? Is it desirable? Can or should one update dance material or

use it in a new context? These are some of the many questions asked at this free colloquium.


22/24

22

The Memory of the Body inThe Memory of the Body inThe Memory of the Body inThe Memory of the Body in T

TTTimes of

imes ofimes ofimes of the

thethethe Internet

InternetInternetInternet

Marianne Van Kerkhoven------------------------------------------------------------------------------

Within contemporary dance, there is growing interest in re-enactment: the reconstruction of

choreographies or productions that were created in the past especially the 20 th century

and investigating what this legacy (still) has to say today.

Re-enactment is a term that was initially used to indicate the practice by which important

historical events are repeated some time after they took place: to keep alive in the

collective memory the significance of these events, to allow new generations of a populationto experience what was of concern to their ancestors. Thus, for example, in 1920 a re-

enactment was staged in St. Petersburg of the storming of the Winter Palace, a crucial

moment in the Russian revolution that had taken place three years earlier. Thousands of

extras acted out the event, some of whom had really participated three years earlier.

Today this type of awareness raising or memory work has been recuperated by the

amusement park industry in the form of theme parks where one can choose to be

submerged in the life of the Romans, those living in the Middle Ages or in the fight between

cowboys and Indians

In dance, contemporary interest in re-enactment originated mainly in the 1990's within so-called conceptual dance. The body was seen as a collection of signs, an archive that defined

the identity of the dancer. But every identity refers to a context and a previous history, which

also has to be examined to be able to grasp this identity.

But there are several motives underlying this interest in re-enactment: one of them is the

need to develop for the pre-eminently volatile dance medium a repertoire, a legacy as this

is present in other performing disciplines.

Opera for example exists by the grace of its repertoire: this musical genre's great

masterpieces of the past centuries are continually performed again, always with new musical

interpretations and/or stagings. In traditional European text theatre culture it is also an

established custom to frequently draw on the reservoir of pieces built up over time. Classical

ballet also has a limited number of works whose choreography was handed down to later

generations of dancers and that (such as for example Swan Lake) regularly appear on the

programme.

Compared to these other performing disciplines, development of a contemporary dance

repertoire is a much more complex task. In any case, registering a dance score is more

difficult than in the case of a text or a musical score. Dancing is a spatial discipline, and

space simply does not allow itself to be captured in linguistic characters or in an audio

recording. Even the various types of visual recording that are technically possible todayusually remain two-dimensional. Classical ballet also has a coded language at its disposal,

concerning a repertoire of steps, as well as the use of space, dealing with music etc. The


23/24

23

internal functioning of the classical ballet company (star dancers, soloists, corps de ballet)

takes place according to strict rules that we see reflected on stage. In modern, postmodern

and contemporary dance, all of these codes were gradually abandoned:

- Today, any possible movement can be used as material in productions, including, for

example, everyday acts.

- Structurally/compositionally, there is no restriction concerning the patterns used.- Music and dance follow their own logic, sometimes even separately from each other.

- Dancers are often the co-creators of the choreography.

- Within the various modern dance forms, the improvisatory element has secured its right to

exist as essential materials of the creation process, etc.

All of this only further complicates the reconstruction of these dance forms. In addition to

consulting all possible sources, when remaking recent choreographies one can call upon the

memory of those who were involved in the original creation. Not only our mind, but also our

body has a memory. In their work, dancers often rely on this body memory. But we also

experience this in our daily lives: once we, for example, know how to swim or ride a bicycle,we remember it immediately, even if we have not engaged in the activity for years

Thus, the preparatory work to arrive at a re-enactment can consist of interviewing or

physically working with those who played a role in the original creation. For parades &

changes, replays, presented last season in the Kaaitheater, initiator Anne Collod held various

discussions with the then 88-year Anna Halprin, who created Parades & Changeswith her

dancers in 1965.

What are the driving forces of choreographers and dancers in investing so much energy

today in remaking works from 20thcentury dance history?

Sooner or later each artist asks about the historical roots of his or her own practice. Even

those who live and create with a focus on the future, eventually are confronted with the need

to create their own past, with the need to relate to their predecessors in the history of art.

Today, however, more appears to be happening than just this normal longing within one's

artistic development.

We live today in a society in which changes take place at an enormous speed. Within

professional practices (of whatever kind), this speed demands thoroughgoing flexibility,

short term thinking. There is no time to consolidate, no long periods available to work on

something, no time for permanence. One work is not yet delivered and three new futureprojects must be developed. This puts pressure on the past and the cultural legacy: precisely

because we are unable to do much with these within the economic patterns of contemporary

society, which especially favour investments in speed and flexibility. Hence, a reaction

against this loss of historic awareness was inevitable. The recent and continuously recurring

discussions on the canon, the repertoire, final attainment levels etc. must be seen in this

light.

One of the paradoxes of this society is that the knowledge and communication technology

that has radically changed our lives finds its focus in creating a gigantic memorybursting

with information. Computers, Internet, GPS etc.: they are also examples of self-regulating

artificial memories that combine stored data.


24/24

These artificial memories dominate and change human practice: we no longer seekour way

via experience based on trial and error, but we find it thanks to the knowledge amassed in a

digital memory. Artists and certainly performing artists for whom immediate, living

communication with an audience is primary cannot but question these developments. How

do we perceive the world today? Via which images and in what way do we apprehend

society? How do we relate to the past? What does experience mean today? Hence, the re-enactment movement in dance must be understood in relation to these types of questions.

What does my body think? What does it see, hear, feel? What does it store and what does it

remember? And how can we transfer what we remember to the audience?

The re-enactment movement thus is a part of this never-ending dialogue between past,

present and future.

What strikes me most about memory is not that it retells the past but that it feeds the

present.

Paul Valry

What distinguishes works of art from all other things is the fact that they are at the same

time future things, things whose time has not yet come.

Rainer Maria Rilke

You surely don't throw away important art when it is no longer new?

Jan Joris Lamers

ReMove Dance Festival - Press File Kaaitheater

Documents

Transcript of ReMove Dance Festival - Press File Kaaitheater