Re:Rosas!
2018 - Director : Centre national de la danse, Réalisation
Choreographer(s) : De Keersmaeker, Anne Teresa (Belgium)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Re:Rosas!
2018 - Director : Centre national de la danse, Réalisation
Choreographer(s) : De Keersmaeker, Anne Teresa (Belgium)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Re:Rosas
In 1983, the company Rosas made a name for itself with the show Rosas danst Rosas. Since that date, the choreography has been performed the world over.
The participants in the Re:Rosas workshops led by Johanne Saunier, as well as all those who have learnt the steps thanks to the site rosasdanstrosas.be, show the result of their work in the Atrium of the CND, along the Canal de l’Ourcq and on the forecourt of the Théâtre du Fil de l’eau in Pantin, just before the performances of Rosas danst Rosas.
Source: programme of the CND
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
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Re:Rosas
Choreography : Anne Teresa De Keersmaeker - ateliers donnés par Johanne Saunier
Interpretation : 124 danseurs amateurs
Production / Coproduction of the choreographic work : Présenté le 6.10.2018 au CND à Pantin dans le cadre de la Fabrique - Anne Teresa De Keersmaeker
Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois
If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”.
James Carlès
Bagouet Collection
The committed artist
In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.
The Dance Biennial Défilé
Indian dances
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
Black Dance
Why do I dance ?
The Dance Biennale
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
The national choreographic centres
Roots of Diversity in Contemporary Dance
Charles Picq, dance director
How to become a dance spectactor ?
A Rite of Passage
Käfig, portrait of a company
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff
Do you mean Folklores?
Presentation of how choreographers are revisiting Folklore in contemporary creations.
Rituals
Discover how the notion of ritual makes sense in various dances through these extracts.