Anne Teresa De Keersmaeker
Fase, Four Movements to the Music of Steve Reich
© Fase (2018 revival) images de répétition © Anne Van Aerschot ©
© Fase (2018 revival) images de répétition © Anne Van Aerschot ©
© Fase (2018 revival) images de répétition © Anne Van Aerschot ©
Choreography, Anne Teresa De Keersmaeker
Music, Steve Reich, Piano Phase (1967) ; Come Out (1966) ; Violin Phase (1967) ; Clapping Music (1972)
With (alternately) Yuika Hashimoto, Laura Maria Poletti / Laura Bachman, Soa Ratsifandrihana
Lights, Rémon Fromont
Costumes (1981), Martine André, Anne Teresa De Keersmaeker
Produced by Schaamte vzw (Brussels) ; Avila vzw (Brussels)
A coproduction with La Monnaie / De Munt (Brussels) ; Sadler’s Wells Theatre (London) ; Les Théâtres de la Ville de Luxembourg
In association with Les Spectacles vivants – Centre Pompidou (Paris) ; Festival d’Automne à Paris
First performed on the 18th of March 1982 at Beursschouwburg (Brussels) with Michèle Anne De Mey and Anne Teresa De Keersmaeker
The Fondation d’entreprise Hermès is the patron of the Anne Teresa De Keersmaeker Portrait.
In partnership with France Inter
Thirty-six years after its creation, Fase has become a living archive of dance history, but has lost none of its minimalist lines and intensity. Comprised of a series of gestures which repeat, mix and come out of phase with each other, its four movements, shaped to the music of Steve Reich, form the four cardinal points of Anne Teresa De Keersmaeker’s work.
Fase marks the beginning of something new: the birth of a choreographic work devoted entirely to redefining dance using its own resources, in an ongoing dialogue with the music. What strikes us when we watch Fase - bearing in mind the amplitude of the musical territory that Anne Teresa De Keersmaeker has explored over more than thirty years -, is not just its immense rigour, but also the simplicity and extraordinary variety that emerge from this inaugural work. Fase marks the beginning of something new, and all the elements are already there: repetition, clarity of different shapes and forms, and mathematical art in terms of the arrangement of the different figures. The four movements which constitute this piece - piano, violin, voice and rhythm - are elements which Anne Teresa De Keersmaeker unceasingly draws upon and arranges over the course of her piece. The principle of the progressive staggering of a phase, the cornerstone of Steve Reich’s minimalist works, has enabled him to invent a language which is free of all forms of emphasis or affectation. It digs the channel of a movement which is reshaped as the piece progresses. In Piano Phase, two identical silhouettes spin round and around to dizzying effect, creating a mirror effect which marries with the staggered phasing of the melodic line. The scansions of the voice in Come Out reverberate with each other in a grammar of minimalist gestures, whilst Clapping Music propels the bodies of the dancers into a perpetually mutating rhythmical impulse. The only solo work, Violin Phase - which can also be seen, only, at Lafayette Anticipations, concentrates, into a circle, the abandonment of a movement that is continually reshaped as the piece progresses. For the first time in the show’s long history, Anne Teresa De Keersmaeker will transmit this piece that she herself has always performed to two new dancers.
Running time: 1h10
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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