Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5
Il Cimento dell’Armonia e dell’Inventione
septembersept 13 – 22
© Anne Van Aerschot ©
© Anne Van Aerschot ©
© Anne Van Aerschot ©
Friday september 13
20h
Saturday september 14
20h
Sunday september 15
15h
Tuesday september 17
20h
Wednesday september 18
20h
Thursday september 19
20h
Saturday september 21
20h
Sunday september 22
15h
Choreography Anne Teresa De Keersmaeker, Radouan Mriziga. Created with and performed by Boštjan Antončič, Nassim Baddag, Lav Crnčević, José Paulo dos Santos. Music Antonio Vivaldi. Le quattro stagioni – recording by Amandine Beyer and her ensemble Gli Incogniti (Alpha Classics/ Outhere Music 2015). Musical analysis Amandine Beyer. Set and light design Anne Teresa De Keersmaeker, Radouan Mriziga. Costume design Aouatif Boulaich. Rehearsal director Eleni Ellada Damianou.
Production Rosas
Coproduction Berliner Festspiele ; Charleroi danse – Centre chorégraphique de la Fédération Wallonie-Bruxelles ; Concertgebouw Brugge ; De Munt – La Monnaie (Brussels) ; Festival de Marseille ; ImPulsTanz (Vienna) ; Sadler’s Wells (London) ; Théâtre de la Ville-Paris ; Festival d’Automne à Paris
This production has been made with the support of the Belgian federal government's Tax Shelter programme, in collaboration with Casa Kafka Pictures.
Rosas is supported by the Flemish Community and the Flemish Community Commission (VGC)
With the support of Dance Reflections by Van Cleef & Arpels
The Théâtre de la Ville-Paris and the Festival d’Automne à Paris are co-producers of this show and present it as a co-realisation.
With the support of
In partnership with
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.
Antonio Vivaldi's The Four Seasons is undoubtedly one of the most famous "hits" of Western high-culture music. Which of us has never heard the first, spritely notes of Spring, or the soaring, lyrical flights of Summer? The four concertos are, however, much more than a heritage set in stone, or a ritornello which has been heard over and over again hundreds of times. Accompanied by Amandine Beyer, the undertaking that Anne Teresa De Keersmaeker and Radouan Mriziga embark upon consists of apprehending the score in all its complexity in order to expose the originality of this baroque masterpiece and the emotions it stirs up. With their common fascination for the natural elements, geometry and the power of abstraction, the two artists combine their approaches to dance in order to convey all the nuances of this score – alternating between wild flights, gentle melancholia and bucolic euphoria. Via the prism of the four seasons, a whole ecological backdrop flows in, irrigating the movement in the process. The concern that this process evokes is rooted in the perception of climate upheaval, of which one of the most worrying signs is the gradual fading away of the passage of the seasons.
See also
Radouan Mriziga Libya
Libya, the third piece by Moroccan choreographer Radouan Mriziga to be performed at this year's Festival d'Automne, explores the notion of 'knowing', in which eight dancers and a series of lines on the floor seem to trace the trajectories of a constellation of movements that we are about to observe.
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.
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
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.