Anne Teresa De Keersmaeker Meskerem Mees Jean-Marie Aerts Carlos Garbin Rosas
EXIT ABOVE d’après la tempête
© EXIT ABOVE d’après la tempête, Anne Teresa De Keersmaeker, Meskerem Mees, Jean-Marie Aerts, Carlos Garbin, Rosas © Anne Van Aerchot ©
© EXIT ABOVE d’après la tempête, Anne Teresa De Keersmaeker, Meskerem Mees, Jean-Marie Aerts, Carlos Garbin, Rosas © Anne Van Aerchot ©
© EXIT ABOVE d’après la tempête, Anne Teresa De Keersmaeker, Meskerem Mees, Jean-Marie Aerts, Carlos Garbin, Rosas © Anne Van Aerchot ©
Choreography, Anne Teresa De Keersmaeker
Created with and danced by Abigail Aleksander, Jean Pierre Buré, Lav Crnčević, José Paulo dos Santos, Rafa Galdino, Carlos Garbin, Nina Godderis, Solal Mariotte, Meskerem Mees, Mariana Miranda, Ariadna Navarrete Valverde, Cintia Sebők, Jacob Storer
Music, Meskerem Mees, Jean-Marie Aerts, Carlos Garbin
Music performed by Meskerem Mees, Carlos Garbin
Text and lyrics, Wannes Gyselinck
Dramaturgy, Wannes Gyselinck
Set design, Michel François
Light, Max Adams
Costumes, Aouatif Boulaich
Rehearsal direction, Cynthia Loemij, Clinton Stringer
Production Rosas
Coproduction Concertgebouw Brugge (Bruges); De Munt / La Monnaie (Brussels); Dance Reflections by Van Cleef & Arpels; Internationaal Theater Amsterdam; Théâtre Garonne, Scène européenne (Toulouse); FONDOC
With the support of the Tax Shelter of the Belgian Federal Government, in collaboration with Casa Kafka Pictures - Belfius
Rosas is supported by the Flemish Community, the Flemish Community Commission (VGC) and the BNP Paribas Foundation
With the support of Dance Reflections by Van Cleef & Arpels
The Théâtre de la Ville-Paris and the Festival d'Automne à Paris present this show in coproduction
In partnership with France Inter
Creating a harmony between past and present, blues melancholy, romantic wandering and collective impulse of walking, Anne Teresa De Keersmaeker brings us a hyphen-shaped piece, in which dance weaves together the different musical genres and eras.
Robert Johnson’s nomadic blues is synonymous with movement and wandering, but also rhythm, that of the chord progressions and cadence of this musical form born in the Mississippi delta, and which influenced XXth century rock and pop music. Following in the steps of Robert Johnson, Anne Teresa De Keersmaeker brings us a piece the shape of which signifies a return to origins, in this case those of song, but also dance. Between the walking blues and the "my walking is my dancing" motif, a basic principle behind all of her choreographic constructions, there is more than just plain analogy. Indeed, we find a deep-seated relationship with the expressive power of the simplest of aesthetic elements. Weaving in the metaphor of the footstep, collective walk and individual sidestep, she links together the different musical eras and genres, ranging from Franz Schubert’s lied to the American bluesman ballads. In order to bring into the present these melodic fragments, Anne Teresa De Keersmaeker turns to the musician Meskerem Mees, whose voice maps out different musical heritages. As the various cover versions and variations play out, so too are the encounters between the romantic Wanderer and the Afro-American vagabond.
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
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 Who’s Afraid of Representation?
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.
Lola Arias Los días afuera
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.
Robert Wilson PESSOA – Since I've been me
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.
Jan Martens VOICE NOISE
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.