Anne Teresa De Keersmaeker
La Fabrique
© P.A.R.T.S Drumming © Anna Van Waeg ©
© P.A.R.T.S Drumming © Anna Van Waeg ©
© P.A.R.T.S Drumming © Anna Van Waeg ©
A CND Centre national de la danse (Pantin) production
A Festival d’Automne à Paris coproduction
In association with CND Centre national de la danse (Pantin) ; P.A.R.T.S. ; Rosas ; Théâtre du Fil de l’eau / Ville de Pantin
The Fondation d’entreprise Hermès is the patron of the Anne Teresa De Keersmaeker Portrait.
In partnership with France Inter
Over the course of a weekend dedicated to spectators, professional and amateur dancers, adults and children alike, visitors will be treated to an on-the-move workshop comprising solos, shows, repertory elements, workshops and screenings. The CND space itself will be springing into movement with Anne Teresa De Keersmaeker’s geometric lines, rhythms, and learning modes.
Throughout her work, Anne Teresa De Keersmaeker has been laying the foundations for an open form of dance, which gives access to its sources and structural principles. Whether it is by means of the P.A.R.T.S. school, founded in 1995, based on the idea of the dancer-creator, the publishing of the Choreographer’s Score notebooks, the Work/Travail/Arbeid exhibition, or the participative, viral Re:Rosas! project, knowledge and transmission are at the heart of this work which shows and shares the processes which have gone into its construction. The overall objective of La Fabrique’s programme is precisely this: to make the work of the dancer accessible to all by drawing on its physical, fun, and participatory dimensions. In conjunction with the Portrait dedicated to the choreographer by the Festival d’Automne à Paris, the CND will be transforming itself into a dancing hive, on the border between living museum and come-as-you-please workshop. Lead by dancers from the company and P.A.R.T.S. students, this weekend concentration of choreographic events features workshops based on repertory works for all, Dancingkids for children, and shows or fragments of different works to seen, heard or experiment with. A performance of the Rosas danst Rosas piece will be echoing its pirated version, Re:Rosas!, giving participants the opportunity to tackle an extract of the famous “chair dance”. On Saturday, extracts from Drumming will follow on from each other hourly, creating the impression of an uninterrupted rhythmical flow. On Sunday, forty-eight P.A.R.T.S students will be performing, non-stop, for four hours, brief solos on the three Atrium stages, giving us ample opportunity to view the full extent of the Rosas rich repertory.
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.
In the same place
Radouan Mriziga Atlas/The Mountain
In Atlas/The Mountain, the Moroccan choreographer Radouan Mriziga transforms his body into a catalyst for energies and traditions from the Atlas Mountains. This solo in the form of a ritual is transcended by polymorphic figures and captivating rhythms.
Latifa Laâbissi, Antonia Baehr Cavaliers impurs In a visual installation by Nadia Lauro
Following on from Consul and Meshie, Latifa Laâbissi and Antonia Baehr bring us a duo in the form of a series of heterogeneous sequences, interlinked by a common thread of the impure, hybridization and collage. They combine their respective vocabularies, such as the relationship with the expressiveness of the face, and the crossing of genres, registers. Over the course of different numbers or acts, Laâbissi and Baehr interweave their respective universes, thereby overturning the various choreographic codes and blurring the frontiers.
Elsa Dorlin Travailler la violence #4
How can we work on violence? How can we put into perspective, stage and retell it? How can we tear it to pieces? The purpose of this two day-long series of encounters, put together by the philosopher Elsa Dorlin, will be to update what critiques of violence teach us and to make an inventory of the various weapons of violence collected.