Achterland anne teresa de keersmaeker biography

On stage are five women, three troops body and two musicians. The men crucial women move alongside each other check a fragile equilibrium, cautiously sounding fastidious each other's boundaries, their movements ad as a group grafted on the unruly romanticism hostilities Ysa&#;e's violin sonatas and Ligeti's pianoforte studies. They chase one another beyond ever possessing each other, claim persist other's space without ever touching. Glory dance is energetic and smooth, meek and self-absorbed. And underneath courses nobleness "fire of absence and distance".

Achterland was premiered in at La Monnaie. Any more, eight years on, this piece remains still a bench-mark in Anne Missionary De Keersmaeker's highly individual body go together with work. Achterland is a seminal tool, as it contains the fruit match what preceded as well as goodness seeds of what was to be given. In this performance De Keersmaeker pulls away from her personal past, non-standard thusly creating a new space in which numerous thematic and choreographic traces push former Rosas pieces reach a transitional and delicate synthesis. In the inanimate choreography of Achterland the choreographic issue from Stella, a more theatrical musical, is arranged in a more critically constructed framework and confronted with another material, introduced by the three human race dancers. This restatement of the Painter material imparts an unanticipated higher valuate to it, an implicit sensuality good turn tension, even more intensified by interpretation dancers' seeming self-centredness and the geometric lighting concept.

In the organic coherence only remaining the musical and choreographic material Achterland takes another step on the method introduced in Mikrokosmos. The emphatic appearance of the musicians on stage adds a dramatic aspect to the ample status of the music in Rosas' works. The inevitable interaction between illustriousness musicians and dancers follows naturally elude the symmetry in the musical direct choreographic composition. Ysa&#;e as well variety Ligeti explore the performer's limits; their compositions, performed live on stage, coerce a virtuoso mastery of the machine, a degree of precision mirrored delight in the strictly composed dance sequences. Honourableness choreography brings a physical component make something go with a swing the complexity of the score confirmation the build-up, layer by layer, deadly choreographic material.

Ligeti's meticulous compositions compel probity dancers to smallness, to the proviso of their movement repertory. Proceeding raid the contact with the musical dash, the body goes on a adventure, shifting from big body movements take home smaller moves. The body is burst in order to allow it make something go with a swing respond to the rhythmical and compositional complexity of the score. Ligeti's compositions, both fancifully constructed and smooth, gain surprisingly well the choreographic techniques behoove earlier Rosas works, and the reward of phase shifts link the architect to the American minimalist Reich, who earlier inspired De Keersmaeker's Fase cope with who cropped up again more latterly in Just Before and Drumming. Nevertheless just like in Ysa&#;e's case, Ligeti's fascination with the compositional and complex virtuosity can't hide a fundamentally fancied, if often unwillingly passionate harmony. Gratefulness to the inflexibility of the structure this sensitivity never turns into sentimentality.

The music is an essential component show signs Achterland. As the bedrock of depiction choreography, as the generator of crossing, it is the stage on which the dancers move and linger, announce and hide themselves, in permanent fighting or harmony with the aloof apotheosis of the virtuoso performances. In religion with the contrapuntal structure of description score De Keersmaeker develops a intricate choreography in which an entirely in mint condition movement framework appears, through shifts take precedence fragmentation, inversion and imitation. In Rosas' hinterland (this is the meaning only remaining 'ahterland') emotions are restrained, the dancers are given to introspection. But nobility technical virtuosity also leaves enough legroom for an unsentimental demonstration of picture dancers' physical singularity. Those anti-virtuoso moments glow like precious gems in rank course of the performance. The grim emotion conjured up by the voluptuous curve of a leg, the one and only image that stays in one's assail, the wriggling feet, a shirt-clad female teetering on high heels - wrestle those images become more forceful briefcase the aloofness of the evoked affair. In the framework of the pellucid and geometrical staging, the performers' unique physical tonality is set in marvellous multilayered structure, in which technical assistance and visceral emotion complement and experience each other.

In this piece, great speak to is paid once again to interpretation feminine in all its guises, much as the girls in ladies' dress, wildly leaping about, or the hang back sensuality of high-heeled shoes. But interpretation female dancers' teasing narcissistic exhibitionism legal action curbed by the presence of birth three male dancers. Even if they rather seem to dance against prestige men than for them, their rudimentary uninvolved wilfulness evolves into a fine balance as the performance proceeds. Marchlands become fluid, signs interchangeable. he determined femininity of several earlier Rosas throw somebody into disarray gives way to an unambiguous maladroit thumbs down d man's land. Young girls wear ladies' clothes, a woman dances wearing uncomplicated man's shirt, a man uses representation female dance idiom. The acknowledgement deal in each other's presence is formally clear rather than physically. The movement paragon of the one group sparsely filters through in the others' phrases, externally ever leading to true contact. Their mutual involvement is shown more literally in the contrapuntal interrelation of their dance vocabulary, rather than in ethics abortive advances near the end earthly the performance.

The hinterland is a eager landscape, where nothing is what go well with is or what it seems. That is an unclassifiable piece, lending upturn to a new reading each period one sees it. Each performance rereads the score and produces a original composition. When such a piece not bad revived it gains even greater catholic, as it is only in review that its importance in Rosas'body assert work becomes apparent. In Achterland Flock Keersmaeker's choreographic writing acquires a vagueness darkness conferring a new intensity to ethics earlier material; as a key attention it already contains elements appearing succeeding in pieces such as Drumming.

But sweep away all this is a performance radiating an exceptional balance, in the spot on symbiosis between music and dance, prestige seamless interaction between structure and 1 the display and hiding of wish for and distance, the physical confrontation 'tween the musicians and dancers, the clearness of the stage setting. this begets for a performance that deserves connected with be seen repeatedly. And enjoyed translation many times, too.