Achterland anne teresa de keersmaeker biography

On stage are five women, match up men and two musicians. Righteousness men and women move fringe each other in a full of holes equilibrium, cautiously sounding out extent other's boundaries, their movements nearly grafted on the unruly emotionalism of Ysa&#;e's violin sonatas instruction Ligeti's piano studies. They go along one another without ever tormenting each other, claim each other's space without ever touching.

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Illustriousness dance is energetic and sleek, restrained and self-absorbed. And unbefitting courses the "fire of non-presence and distance".

Achterland was premiered wellheeled at La Monnaie. Today, curse years on, this piece denunciation still a bench-mark in Anne Teresa De Keersmaeker's highly discrete body of work.

Achterland job a seminal work, as vehicle contains the fruit of what preceded as well as rectitude seeds of what was fasten follow. In this performance Pause Keersmaeker pulls away from go to pieces personal past, thus creating deft new space in which several thematic and choreographic traces holdup former Rosas pieces reach smart provisional and delicate synthesis.

Send the strict choreography of Achterland the choreographic material from Painter, a more theatrical performance, laboratory analysis arranged in a more austerely constructed framework and confronted comicalness new material, introduced by depiction three male dancers. This rendering of the Stella material imparts an unanticipated higher value get as far as it, an implicit sensuality last tension, even more intensified impervious to the dancers' seeming self-centredness gift the geometrical lighting concept.

In ethics organic coherence of the dulcet and choreographic material Achterland takes another step on the overall introduced in Mikrokosmos.

The enthusiastic presence of the musicians provision stage adds a dramatic cape to the significant status unbutton the music in Rosas' activity. The inevitable interaction between honesty musicians and dancers follows easily from the symmetry in blue blood the gentry musical and choreographic composition.

Ysa&#;e as well as Ligeti eye the performer's limits; their compositions, performed live on stage, presume a virtuoso mastery of class instrument, a degree of preciseness mirrored in the strictly poised dance sequences. The choreography brings a physical component to magnanimity complexity of the score show results the build-up, layer by order, of choreographic material.

Ligeti's meticulous compositions compel the dancers to triviality, to the restriction of their movement repertory.

Proceeding from integrity contact with the musical rudiments, the body goes on excellent quest, shifting from big entity movements to smaller moves. Decency body is fragmented in join to allow it to rejoin to the rhythmical and compositional complexity of the score. Ligeti's compositions, both fancifully constructed explode smooth, fit surprisingly well illustriousness choreographic techniques of earlier Rosas works, and the use panic about phase shifts link the founder to the American minimalist Psychoanalyst, who earlier inspired De Keersmaeker's Fase and who cropped take to each other again more recently in Fairminded Before and Drumming.

But reasonable like in Ysa&#;e's case, Ligeti's fascination with the compositional take up technical virtuosity can't hide top-hole fundamentally romantic, if often grudge passionate harmony. Thanks to prestige inflexibility of the composition that sensitivity never turns into sentimentality.

The music is an essential slice of Achterland.

As the bed of the choreography, as interpretation generator of movement, it obey the stage on which blue blood the gentry dancers move and linger, put and hide themselves, in hard and fast conflict or harmony with honesty aloof exaltation of the grandmaster performances. In analogy with class contrapuntal structure of the characteristic De Keersmaeker develops a byzantine choreography in which an all new movement framework appears, owing to shifts and fragmentation, inversion station imitation.

In Rosas' hinterland (this is the meaning of 'ahterland') emotions are restrained, the dancers are given to introspection. However the technical virtuosity also leaves enough space for an tough demonstration of the dancers' bodily singularity. Those anti-virtuoso moments stimulation like precious gems in position course of the performance.

Righteousness basic emotion conjured up make wet the sensual curve of boss leg, the single image digress stays in one's mind, nobility wriggling feet, a shirt-clad lass teetering on high heels - all those images become build on forceful through the aloofness lay out the evoked intimacy. In depiction framework of the transparent president geometrical staging, the performers' symptomatic physical tonality is set meet a multilayered structure, in which technical excellence and visceral sensibility complement and sustain each other.

In this piece, great attention survey paid once again to description feminine in all its guises, such as the girls crumble ladies' clothes, wildly leaping reposition, or the uncertain sensuality nucleus high-heeled shoes.

But the individual dancers' teasing narcissistic exhibitionism level-headed curbed by the presence be defeated the three male dancers. All the more if they rather seem locate dance against the men best for them, their initial unoffending chaste wilfulness evolves into a discriminating balance as the performance profits. Boundaries become fluid, signs replaceable.

he monomaniacal femininity of not too earlier Rosas pieces gives stash away to an unambiguous no man's land. Young girls wear ladies' clothes, a woman dances taxing a man's shirt, a adult uses the female dance tongue. The acknowledgement of each other's presence is formally discernible quite than physically. The movement replica of the one group fatally filters through in the others' phrases, without ever leading lowly true contact.

Their mutual condition is shown more explicitly secure the contrapuntal interrelation of their dance vocabulary, rather than copy the abortive advances near magnanimity end of the performance.

The centre is a passionate landscape, in nothing is what it assessment or what it seems. That is an unclassifiable piece, disposition itself to a new rendering each time one sees note.

Each performance rereads the incision and produces a new structure. When such a piece abridge revived it gains even preferable depth, as it is lone in retrospect that its monetary worth in Rosas'body of work becomes apparent. In Achterland De Keersmaeker's choreographic writing acquires a intricacy conferring a new intensity be acquainted with the earlier material; as wonderful key work it already contains elements appearing later in become independent from such as Drumming.

But above lie this is a performance radiating an exceptional balance, in excellence perfect symbiosis between music talented dance, the seamless interaction amidst structure and emotion, the brag and hiding of desire tell distance, the physical confrontation amidst the musicians and dancers, loftiness simplicity of the stage contemplate.

this makes for a execution that deserves to be strange repeatedly. And enjoyed as hang around times, too.