Anne Teresa De Keersmaeker
Échelle Humaine / Violin Phase
© Violin Phase © Max Vadukul ©
Violin Phase
Running Time : 15 min.
Choreography, Anne Teresa De Keersmaeker
Dancer, Yuika Hashimoto
Music, Steve Reich, Violin Phase (1967)
Concept, Thierry De Mey
In association with Lafayette Anticipations (Paris) ; Festival d’Automne à Paris
First performed in April 1981 at the Festival of Early Modern Dance (New York)
La Fondation d’entreprise Hermès is the patron of the Anne Teresa De Keersmaeker Portrait.
Partnership with France Inter
For this first edition of Échelle Humaine, the Lafayette Anticipations dance festival will be teaming up with the Festival d’Automne’s Portrait of Anne Teresa De Keersmaeker. Over the course of a week, the choreographer, in the company of Andros Zins-Browne, Eleanor Bauer and Radouan Mriziga will be taking over the playing spaces of the new foundation with movement. Anne Teresa De Keersmaeker will be inaugurating Échelle Humaine with a revival of Violin Phase, a landmark piece dating back to 1981, the choreography of which was set to the music of Steve Reich.
Reconverted by Rem Koolhaas/OMA, the Lafayette Anticipations building is characterized by a system of mobile floors, allowing its volumes to be configured in almost fifty different ways. Échelle Humaine will embrace the performative essence of this architecture through a daily renewal of its space in accordance with the different choreographic propositions. Over the course of a week, dance will be used to explore the possible uses of the venue. This radical reworking of the relationship with the audience will give rise to a new choreography in terms of our vision of the space.
When we watch dance, which of the two takes precedence: is it the movements alone or the unique body of the dancer which embodies them?
Watching Violin Fase today, this question takes on a different form, far beyond mere fetishism for an original work.
This inaugural solo work, created in 1981, seems at it was reinvented imbibed with all the pieces she has created, and with their music. The intensity is such that memory, history/story and presence become one and the same thing. The simplicity of the music and the choreography feed off each other, and change through repetition – which brings us to Nietzsche’s formula of an eternal return or recurrence which can only take place in the future and transformation.
Having always danced Fase herself, Anne Teresa De Keersmaeker, for the first time in the work’s history, now passes it on to two new dancers.
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Running time : 15 min.
See also
Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5 Il Cimento dell’Armonia e dell’Inventione
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.
Rabih Mroué, Anne Teresa De Keersmaeker A little bit of the moon
As part of a special invitation by the Festival d'Automne, choreographer Anne Teresa De Keersmaeker and director Rabih Mroué shared, over the course of ten months, their thoughts, concerns, doubts, and questions regarding politics, art and life. After numerous exchanges by videoconference, the two artists now come together on the site of the former industrial complex, the new home of the Fiminco Foundation. Together, for the duration of a performance, they will be drawing up the plans for a new world for all.
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Dalila Belaza Figures (version performative)
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Rabih Mroué The Inhabitants of Images
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Rabih Mroué Sand in the Eyes
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.