Merce Cunningham

Pond Way / Second Hand / Antic Meet / Roaratorio

Archive 2010
Dance
Théâtre de la Ville – Sarah Bernhardt
novembernov 3 – 13

© © Anna Finke ©

© Lisa Boudreau, Jeannie Steele© Carol Pratt ©

1/2

First program
Pond Way  (1998)
Choreography, Merce Cunningham
Music, Brian Eno, New Ikebukuro for three CDs 1998
Décor, Roy Lichtenstein, Paysage avec bateau
Costumes, Suzanne Gallo
Light, David Covey
With Brandon Collwes, Dylan Crossman, Julie Cunningham, Emma Desjardins, Jennifer Goggans, John Hinrichs, Daniel Madoff, Rashaun Mitchell, Marcie Munnerlyn, Krista Nelson, Silas Riener, Jamie Scott, Melissa Toogood, Andrea Weber
The revival of Pond Way is a commission of Cal Performances, University of California, Berkeley. The revival and preservation of Pond Way are made possible in part through the generous support of American Express.

Second Hand (1970)
Choreography, Merce Cunningham
Music, John Cage, Cheap Imitation
Costumes, Jasper Johns
Light, Richard Nelson
With Brandon Collwes, Julie Cunningham, Emma Desjardins, Jennifer Goggans, John Hinrichs, Rashaun Mitchell, Daniel Madoff, Krista Nelson, Jamie Scott, Robert Swinston
or
Brandon Collwes, Dylan Crossman, Emma Desjardins, Jennifer Goggans, Rashaun Mitchell, Marcie Munnerlyn, Silas Riener, Robert Swinston, Melissa Toogood, Andrea Weber
Musician, David Behrman
First performance: Brooklyn Academy of Music, Brooklyn, New York, 8 January 1970.
Reconstruction and Staging by Carolyn Brown, Merce Cunningham, Sandra Neels. Lighting Design (2008) by Christine Shallenberg.

Antic Meet (1958)
Choreography, Merce Cunningham
Music, John Cage, Concert for piano and orchestra
Décor and costumes, Robert Rauschenberg
With Novembre 3 and 5, 20h30, Novembre 6,15h : Emma Desjardins, Daniel Madoff, Marcie Munnerlyn, Silas Riener, Jamie Scott, Andrea Weber
Novembre 4 and 6, 20h30 : Dylan Crossman, Emma Desjardins, Jennifer Goggans, Daniel Madoff, Krista Nelson, Melissa Toogood
David Behrman, Viola - Takehisa Kosugi, violin - Carol Robinson, Basset Horn - Jesse Stiles, direction - Christian Wolff, piano
Adaptation (2010) par Sandra Neels, assistée par Robert Swinston
Restaging (2010) by Sandra Neels and Robert Swinston
The revival of Antic Meet is a commission of the University of Notre Dame.
The preservation of Antic Meet is made possible in part through the generous support of the National Endowment for the Arts
and Jean Donovan Fisher.

Second Program
Roaratorio (1983)
Choreography, Merce Cunningham
Music, John Cage, Roaratorio, an Irish Circus on Finnegans Wake
Design and Light, Mark Lancaster
With Brandon Collwes, Dylan Crossman, Julie Cunningham, Emma Desjardins, Jennifer Goggans, John Hinrichs, Daniel Madoff, Rashaun Mitchell, Marcie Munnerlyn, Krista Nelson, Silas Riener, Jamie Scott, Robert Swinston, Melissa Toogood, Andrea Weber
First Performance: Festival de Lille, Le Colisée, Roubaix, France, 26 October 1983
Restaged (2010) by Patricia Lent and Robert Swinston
The revival and preservation of Roaratorio has been made possible with generous support from American Express and the National Endowment for the Arts, which believes that a great nation deserves great art.
The revival of Roaratorio is a co-commission of The Montpellier Festival, The Music Center-Los Angeles, and Théâtre de la Ville-Paris and Festival d’Automne à Paris
Coproduction Théâtre de la Ville-Paris ; Festival d’Automne à Paris
Partnership with France Inter

After a homage in 2009, the Festival d’Automne and the Théâtre de la Ville revisit Merce Cunningham’s career with some of the works his company continues to stage today. From Antic Meet to Pond Way, four pieces illustrate the revolution he brought about in dance. They showcase his collaborative work with major artists of the 20th century, such as John Cage, Robert Rauschenberg, Jasper Johns and Marcel Duchamp.

In the same place

Théâtre de la Ville – Sarah Bernhardt
septembersept 13 – 22

Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5
Il Cimento dell’Armonia e dell’Inventione

Dance

In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.
Théâtre de la Ville – Sarah Bernhardt
septembersept 23 – 28

Rabih Mroué
Who’s Afraid of Representation?

Theatre Portrait

We find ourselves in the company of major figures of European Body Art (Joseph Beuys, Orlan, Marina Abramović, to name a few) via their accounts of exhibitions and public scarifications dating back to the 1970s. In parallel with this runs the true story of a killing spree carried out by a Lebanese office at his workplace, and the fluctuating motivations for his acts.
Théâtre de la Ville – Sarah Bernhardt
octoberoct 3 – 5
Maison des Arts de Créteil
novembernov 6 – 7

Lola Arias
Los días afuera

Theatre
Buy tickets

At the crossroads between musical and documentary, Lola Arias brings us a choral composition in which six female former inmates talk about their lives during and after incarceration. Their six intertwining destinies raise questions about the various forms of violence present in contemporary society, whilst exploring the margins of fiction and reality at the same time.
Théâtre de la Ville – Sarah Bernhardt
novembernov 5 – 16

Robert Wilson
PESSOA – Since I've been me

Theatre

The hero of this new work by Robert Wilson is Fernando Pessoa. And a paradoxical hero at that. The Portuguese poet spent his life 'multiplying himself', inventing heteronyms, or fictitious authors, to whom he attributed works he himself wrote. He even went as far as to invent relationships, either amicable ones or from master to disciple, between his different avatars.
Théâtre de la Ville – Sarah Bernhardt
novembernov 19 – 23

Jan Martens
VOICE NOISE

Dance
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In this breakthrough piece for Jan Martens, VOICE NOISE brings together six dancers to shape a soundscape comprising some of the great female performers and composers of our time. In his own pop-inspired and precise way, the choreographer questions a very contemporary story, and in doing so raises the question of how some of these voices were silenced.