London 09 - 23 March - SADLER'S WELLS ROYAL OPERA HOUSE TATE MODERN - Van Cleef & Arpels
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A FESTIVAL PRESENTED WITH
SADLER’S WELLS
ROYAL OPERA HOUSE
TATE MODERN
London
09 — 23 March
2022 dancereflections-vancleefarpels.com
DANCE REFLECTIONS
BY VAN CLEEF & ARPELS
IN LONDON
Strengthening its bonds with the world of dance, the
Maison is pleased to present the first edition of Dance
Reflections by Van Cleef & Arpels festival, scheduled to run
from 9 to 23 March, 2022 in London. This wide-reaching
celebration of choreography features 17 modern and
contemporary dance performances highlighting both major
repertory works and new productions. Built on the values
of creation, transmission and education, this event,
organised in partnership with the Royal Opera House,
Sadler’s Wells and Tate Modern, also features a rich
cultural programme designed for the widest audience.
To discover the agenda of the Dance Reflections by
Van Cleef & Arpels Festival and learn more about
the Maison’s commitments to the world of dance, visit:
www.dancereflections-vancleefarpels.com
Fase, Anne Teresa de Keersmaeker © Anne Van Aerschot
MESSAGE FROM
NICOLAS
BOS
An art form of movement and harmony, dance Dance Reflections by Van Cleef & Arpels
has a universal dimension. It exists in myriad does not seek to replace existing institutions
shapes, with or without music, alone or and programmes, but rather to complement
coupled with other disciplines, and its the current cultural offering by highlighting
vocabulary transcends linguistic, historical the work of talented choreographers and
and cultural differences. Dance has always ensuring that significant creations are
been special for Van Cleef & Arpels. preserved and passed down. As a Maison
The Maison’s founders were passionate about de création, Van Cleef & Arpels thrives on
this art form – a source of wonder and creative daily dialogue with other creative spheres.
inspiration. Pursuing the same ideal as It is therefore perfectly natural for us to
dancers and choreographers – a quest for promote this artistic discipline, in the areas
beauty and lightness – they strove to forge of composition and distribution, as well
links between dance and jewellery. A stunning as through educational projects.
illustration can be seen in Balanchine’s ballet
Jewels, fruit of the artistic affinity that united On behalf of the Maison, I therefore take
Claude Arpels and the American choreographer great pleasure in presenting the programme
in the 1950s. of the first Dance Reflections by
Van Cleef & Arpels Festival, to be held
The Maison has perpetuated this tradition in London in March 2022. Through this
over the years through a variety of programmes, extensive event, the Maison is initiating
ranging from tributes honouring George a new phase in its century-long journey
Balanchine to the partnership with Benjamin into the world of dance.
Millepied’s L. A. Dance Project, and from
collaborations with worldwide dance troupes
NICOLAS BOS
and major choreographic theatres to the President and CEO
creation of the FEDORA – Van Cleef & Arpels Van Cleef & Arpels
Prize for Ballet. This longstanding commitment
took on a new impetus in 2020 with the launch
of Dance Reflections by Van Cleef & Arpels.
Reflecting the values of creation, transmission
and education that are dear to the Maison, this
initiative centres on two main missions:
supporting those involved in the world of
contemporary dance and facilitating the
staging of choreographic performances – new
creations and repertory works – by appealing
to a large audience. Activities include
promotion and sponsorship, as well as the
organization of an annual festival.
© Van Cleef & Arpels SA - Patrick Swirc
MESSAGE FROM
SERGE
LAURENT
The culmination of our commitment to This focus on the history of dance is also
artists and institutions in the field of dance, remarkably illustrated by the work of Polish
the Dance Reflections by Van Cleef & Arpels choreographer Ola Maciejewska, who is
Festival, developed in collaboration with presenting two works resulting from her
Sadler’s Wells, the Royal Opera House research into Loïe Fuller’s Serpentine Dance.
and Tate Modern for the London edition, Alessandro Sciarroni will stage two works
is an invitation to revel in the richness that delve into the question of repertoire:
of choreographic creation. Over a period one inspired by a Tyrolean folk dance,
of nearly three weeks, this first edition will and a second based on a traditional dance
feature a panoramic view of dance from from the Bologna region of Italy.
the 1970s to the present day: some seventeen
works will be staged, and there will also To round out this programme, there are also
be artist forums and dance film screenings. works by contemporary choreographers
The event also offers an opportunity to revisit Boris Charmatz, Christian Rizzo and Gisèle
the topic of transmission, and to discover Vienne – three top names in international
– or rediscover – seminal works in the dance – along with pieces by representatives
contemporary repertoire. of a new generation of choreographers:
Brigel Gjoka and Rauf “RubberLegz” Yasit,
The creations presented include performances SERAFINE1369 (Jamila Johnson-Small)
by Lucinda Childs, as passed down to her and Katerina Andreou.
niece Ruth Childs, as well as Dance, a major
work by the American choreographer, The Dance Reflections by Van Cleef & Arpels
dazzlingly danced by the Lyon Opera Ballet. Festival embodies our commitment to
The programme also features Set and Reset showcasing and sharing the legacy of dance
by Trisha Brown, performed by two major and contemporary creation with the broadest
British dance troupes: Rambert and Candoco. possible audience. Together with our
These works, created during the 1970s prestigious partners, we are thrilled to
and 1980s, contributed immensely welcome you to this first event in London.
to shaping the history of contemporary dance,
and exemplify choreographers’ connections
SERGE LAURENT
to music and other art forms. Transmission Programming
is a central topic for Anne Teresa De Dance Reflections by Van Cleef & Arpels
Keersmaeker, as well. Having danced Fase
ever since its creation in 1982, she recently
entrusted the performance of the piece to
two dancers from her troupe. The Belgian
choreographer will also be presenting her
new work, Mystery Sonatas / For Rosa, in
which her movements blend with the baroque
sounds of composer Heinrich Ignaz Franz Biber.
© Marc de Groot
MESSAGE FROM
SADLER’S
WELLS
Founded in London in 1683, Sadler’s Wells is an The festival includes some artists that are
institution dedicated to dance. The theatre has more familiar to Sadler’s Wells audiences,
been providing support for new creations since such as Anne Teresa De Keersmaeker, Boris
2005, launching co-production and broadcast Charmatz, Gisèle Vienne and SERAFINE1369
initiatives in collaboration with international
(Jamila Johnson-Small), as well as others
partners and dance troupes, as well as affiliated
artists such as Russell Maliphant and Sylvie that are new to our stages, and we are
Guillem, Crystal Pite, Sidi Larbi Cherkaoui and relishing the chance to work with them.
William Forsythe. Sadler’s Wells plays a central We are also delighted that Dance Reflections
role in the development of contemporary dance, by Van Cleef & Arpels has co-produced
staging innovative and inspirational performances with us the new duet evening Neighbours
for an international audience. Over the past 15 with Brigel Gjoka and Rauf “RubberLegz” Yasit,
years, the institution has created 56 productions which will have its London premiere during
and performed for more than 2 million viewers the season.
around the world.
So, another big thank you to Van Cleef & Arpels
It is well known that Van Cleef & Arpels has and the whole team there for their continuing
a long history of supporting dance and ballet, commitment to this art form that we love.
going back to its famous collaboration on
Balanchine’s masterwork Jewels. I am very
happy to say that this support for the art form ALISTAIR SPALDING
Artistic Director and Chief Executive
of dance continues today and is exemplified Sadler’s Wells Theatre
by this new initiative, Dance Reflections by
Van Cleef & Arpels Festival, which will take
place at Sadler’s Wells as well as the Royal
Opera House and Tate Modern this spring.
What is particularly impressive is the focus on
work that has been and is now on the leading
edge of the art form rather than on more
traditional repertoire, and it is the reason
I was so keen to work with Nicolas Bos,
Van Cleef & Arpels’ CEO, Curator Serge
Laurent and the team on the project. This fits
exactly with Sadler’s Wells’ mission, to bring
the best of contemporary dance from around
the world to London, and I thank
Dance Reflections by Van Cleef & Arpels for
helping us in that regard.
© Philip Vile
MESSAGE FROM
ROYAL
OPERA HOUSE
The Royal Opera House (ROH), also known We are delighted to collaborate in creating
as “Covent Garden”, ranks among the world’s top the Dance Reflections by Van Cleef & Arpels
lyrical and choreographic institutions. Located Festival and welcome world-renowned guest
in downtown London, it serves as the residence companies to the Royal Opera House. It is
of the Royal Opera, the Royal Ballet and the
a wonderful boost for us all after a year during
Royal Opera House orchestra. Its productions
travel throughout the United Kingdom and the which we have missed live performance
world thanks to partnerships, cinematographic and artistic exchange so much.
programmes, free open-air screenings and
broadcasts (radio, television and streaming). We look forward to sharing the collective
creativity of extraordinary artists and works
The Royal Opera House has enjoyed a with our audiences.
cherished partnership with Van Cleef & Arpels
since 2006. This new collaboration with the
KEVIN O’HARE
High Jewellery Maison, a devotee of dance Director of The Royal Ballet
ever since its foundation, brings together the Royal Opera House
rich heritage and creativity of the Royal Opera
House, of Van Cleef & Arpels and of modern
and contemporary dance.
The Dance Reflections by Van Cleef & Arpels
Festival creates a rich platform of work
across our stages – in our Linbury Theatre,
Paul Hamlyn Hall and Clore Studio – using
our historic building to celebrate collaboration
and captivating dance. It highlights the
tradition, innovation and exceptional
standards of artistry that The Royal Ballet
and Van Cleef & Arpels share.
© Hufton + Crow
MESSAGE FROM
TATE
MODERN
Since its opening in 2000, Tate Modern has This experimental, multi-part presentation
assembled an ever-growing nationwide collection unsettles the notion that the museum fixes
of more than 70,000 works of art. Established in works of art into a static shape upon collecting
the former Bankside Power Station, it has risen to them; that preservation means stopping time.
prominence as one of London’s most emblematic
The ‘Set and Reset’ programme opens up
cultural venues. Tate Modern inaugurated new
spaces in 2016, including the famous “Tanks”, the historic work as both an important artefact
concrete cylinders re-purposed to host artistic and a point of inspiration and direction
performances, particularly choreographic and for a next generation to inhabit and run with.
experimental cinema productions. These new
spaces will serve as the backdrop for a selection In the 1960s, Trisha Brown was one of a
of works to be presented during the Dance generation of significant dancers and
Reflections by Van Cleef & Arpels Festival, choreographers in downtown New York who
including Set and Reset by Trisha Brown. were not content with the idea that dance was
about virtuosity, defying gravity and executing
The acquisition to the Tate collection of the steps. She, alongside Yvonne Rainer, Steve
installation representing the post-modern Paxton and others, put walking, running
masterpiece Set and Reset (1983) by Trisha and falling into the repertoire of movement.
Brown, in collaboration with the artist Robert
Rauschenberg, musician Laurie Anderson and Brown’s work shows us how an artist’s
lighting designer Beverly Emmons, has phrases, concepts and gestures shift and
opened up new challenges and possibilities circulate, recurring and echoing between
for Tate. How can a museum represent dance in contexts and compositions through time,
its collection? and this is fundamental to the design of her
master work. This presentation of Set and
From January to September 2022, in our Reset aims to both offer a view of that
underground Tanks spaces, Tate Modern exceptional design and cultivate its mercurial
will present a new display of Set and Reset spirit towards further experimentation, which
as an installation, archive and score for live is only made possible through the generous
performance. Together with the Dance support of Van Cleef & Arpels, to whom we
Reflections by Van Cleef & Arpels Festival, wish to pass on our gratitude.
we are delighted to be working with two
London-based dance companies – Rambert
and Candoco – to present Trisha Brown’s CATHERINE WOOD
Senior curator of International Art (Performance)
original choreographic work and its evolution Tate Modern
in Set and Reset / Reset, where working with
disabled and non-disabled dancers, Candoco
Dance Company provide other possibilities to
push the boundaries of dance and Brown’s
original choreography. We will also present a
deconstruction of the choreography through an
informal demonstration titled Set and Reset/
Unset.
In these ways, the display and programme
give us a chance to try out new approaches
to presenting the history of art.
© Iwan Baan
NEIGHBOURS
BRIGEL GJOKA, RAUF
“RUBBERLEGZ” YASIT
& RUŞAN FILIZTEK
SADLER’S WELLS
9 & 10 MARCH 7 pm
Choreography
and performance
BRIGEL GJOKA &
RAUF “RUBBERLEGZ”
YASIT
Created in collaboration
with
WILLIAM FORSYTHE
Music
RUŞAN FILIZTEK,
ACCORDS CROISÉS
Lighting
ZEYNEP KEPEKLI
Costumes
RYAN DAWSON LAIGHT
VENUE Neighbours is a raw, powerful collaboration by two
LILIAN BAYLIS STUDIO extraordinary artists, each from a distinct movement
DURATION and cultural heritage.
Approx. 60 min.
TO BOOK TICKETS Pioneering abstract b-boy Rauf “Rubberlegz” Yasit and
SADLERSWELLS.COM established contemporary dancer Brigel Gjoka were inspired
by their time on William Forsythe’s A Quiet Evening of Dance.
Both at the cutting edge of their disciplines, they’ve created
a work that brings together their diverse expertise and
draws influence from their Kurdish and Albanian roots.
A new choreographic language forms as they examine
moments of transformation and contemplation at the
crossroads of urban, classical and contemporary dance.
Through their shared experience, a simple truth emerges:
© Brian Ca
dance is part of being human.
8 Dance Reflections by Van Cleef & Arpels Festival
DANCE
LUCINDA CHILDS
& PHILIP GLASS
BY LYON OPERA BALLET
SADLER’S WELLS
9 & 10 MARCH 8.30 pm
Choreography
LUCINDA CHILDS
Performed by
LYON OPERA BALLET
Music
PHILIP GLASS © 1979
DUNVAGEN MUSIC
PUBLISHERS INC.
Lighting
BEVERLY EMMONS
Costumes
A. CHRISTINA GIANNINI
Original film design
SOL LEWITT
Film re-shot,
identical to the original
film, with the dancers
of the Lyon Opera Ballet
in January 2016 by
VENUE Dance, created in 1979, is considered to be a pinnacle Marie-Hélène Rebois
SADLER’S WELLS of post-modern dance, a minimalist ballet that strips dance
THEATRE Camera operator
back to the language of the body. This seminal piece HÉLÈNE LOUVART
DURATION
60 min.
marks the first major collaboration of Lucinda Childs with Script
the composer Philip Glass and is a must-see event for ANNE ABEILLE
TO BOOK TICKETS every contemporary dance fan.
SADLERSWELLS.COM Editing
JOCELYNE RUIZ
Interpreted by seventeen dancers in a series of glissades,
Special effects
sauts and pirouettes, the dance explores the repetitive PHILIPPE PERROT
and progressively shifting patterns of the score. Dance and
music form a flow into which, in the words of Lucinda Childs,
you want to ‘slip’. Film plays an important part in this work.
The appeal of the work is amplified by the screening
of the original Sol LeWitt film, thus producing a hypnotic
split between stage and background. Dance is, in every
sense of the word, a delight.
Lucinda Childs, co-founder of the Judson Dance Theater,
became known in 1976 through her collaboration on the opera
Einstein on the Beach by Robert Wilson and Philip Glass.
Dance was, however, her first major work, and never did
a piece so well deserve its title. Lyon Opera Ballet has been
a regular visitor to Sadler’s Wells, and we are delighted to
welcome back the company for this special event.
© Jaime Roque de la Cruz
9 Dance Reflections by Van Cleef & Arpels Festival
MYSTERY SONATAS
/ FOR ROSA
ANNE TERESA
DE KEERSMAEKER
EARTH THEATRE
10 & 11 MARCH 8 pm
Choreography
ANNE TERESA
DE KEERSMAEKER
Performed by
ROSAS
Music
THE MYSTERY
SONATAS, HEINRICH
IGNAZ FRANZ BIBER
Musical direction
AMANDINE BEYER
Musicians
GLI INCOGNITI
Set and lighting design
MINNA TIIKKAINEN
Costumes
FAUVE RYCKEBUSCH
VENUE After the thirty Goldberg Variations composed by Johann Artistic coordination and
EARTH THEATRE
Sebastian Bach, Anne Teresa De Keersmaeker continues her planning
ANNE VAN AERSCHOT
DURATION choreographic trajectory with the fifteen Mystery or Rosary
Approx. 105 min. Sonatas, Heinrich Ignaz Franz Biber’s best-known music. Tour managers
TO BOOK TICKETS BERT DE BOCK,
LAURA DELAERE
SADLERSWELLS.COM Biber’s virtuosic sonatas are a musical translation of the
fifteen Sacred Mysteries of the life of the Virgin Mary. Each Technical director
movement is divided into one of three cycles: five joyful, five MARLIES JACQUES
sorrowful and five glorious. Intrinsically religious and narrative,
they are at the same time an invitation to dance.
Attracted by the clarity of Biber’s structure and his numerical
approach, Anne Teresa De Keersmaeker examines the
mystical and geometrical richness of this music and makes
the sonatas her own in a choreography for six dancers.
For this creation, she renews her collaboration with violinist
Amandine Beyer, with whom she previously created Partita 2
(2013) and The Six Brandenburg Concertos (2018). Beyer
performs The Mystery Sonatas with her ensemble Gli Incogniti.
You will hear my four-stringed lyre,
tuned in fifteen different ways.
HEINRICH IGNAZ FRANZ BIBER
© Anne Van Aerschot
10 Dance Reflections by Van Cleef & Arpels FestivalBOMBYX MORI
OLA
MACIEJEWSKA
ROYAL OPERA HOUSE
11 & 12 MARCH 7.45 pm
Choreography
OLA MACIEJEWSKA
Performed by
AMARANTA VELARDE
GONZALEZ,
MACIEJ SADO,
OLA MACIEJEWSKA
Sound
CAROLA CAGGIANO
in collaboration with
the dancers
Lighting and
technical direction
RIMA BEN BRAHIM
Design of Serpentine
Dance Construction
JOLANTA
MACIEJEWSKA
Realisation of Serpentine
VENUE In this work for three dancers, Ola Maciejewska draws Dance Construction
LINBURY THEATRE inspiration from Loïe Fuller’s signature invention, the and costumes
VALENTINE SOLÉ
DURATION Serpentine Dance. She brings the iconic legend face to face
60 min. with her paradoxes and intangible character. The title, Production
CAROLINE REDY
TO BOOK TICKETS
Bombyx Mori, refers to the silkworm, which has become
ROH.ORG.UK entirely dependent on humans for its survival. Dance,
archives and artifice are interwoven in this performance,
engendering a metaphor for the hybrid nature of things.
A trailblazing dancer who defied characterization, Loïe Fuller
was a performing artist before the term even came into being.
A controversial figure in Western dance, she merged dance
with special effects to capture the movement of fire, water
and other natural elements, hiding her body under vast
sweeps of silk. As the first person to use electric lights on
stage and to explore movement outside the human body, she
was a force for innovation in the world of theatre and dance.
She collaborated with such pre-eminent figures as Auguste
Rodin, the Lumière brothers, Henri Sauvage and Marie
Skłodowska-Curie.
POST-SHOW TALK
A chance to hear the artists talk about their work, which
will take place in the auditorium following the performance.
Simply gather at the front of the auditorium near the stage.
© Martin Argyroglo
11 Dance Reflections by Van Cleef & Arpels FestivalBSTRD
KATERINA ANDREOU
SADLER’S WELLS
12 & 13 MARCH 7 pm
Choreography
and performance
KATERINA ANDREOU
Sound
KATERINA ANDREOU
in collaboration with
ERIC YVELIN
Lighting
YANNICK FOUASSIER
External consultants
MYRTO KATSIKI,
LYNDA RAHAL
Production & touring
ELODIE PERRIN
VENUE BSTRD is an energetic and minimalist solo performance
LILIAN BAYLIS STUDIO featuring Katerina Andreou and a single vinyl turntable, based
DURATION on the notions of impurity and transformation. What if the idea
50 min. of purity is an illusion and everything was made of a much
TO BOOK TICKETS more complex material?
SADLERSWELLS.COM
She is accompanied by a pounding soundtrack inspired
by house culture. Pressed onto vinyl and activated at the
beginning of the piece, this score is a backdrop to an
exploration of both political and poetic issues focusing
on a dramatic bastardized figure. Katerina uses this hybrid
music to explore the very origin of gesture.
© Patrick Berger
12 Dance Reflections by Van Cleef & Arpels FestivalUNE MAISON
CHRISTIAN RIZZO
SADLER’S WELLS
12 & 13 MARCH 8.30 pm
Choreography, stage
design, costumes
and light objects
CHRISTIAN RIZZO
Performed by
YOUNESS ABOULAKOUL,
HARRIS GKEKAS,
LLUIS AYET, LAUREN
BOLZE, JOHAN BICHOT,
NEFELI ASTERIOU, PEP
GARRIGUES, ARIANE
GUITTON, HANNA
HEDMAN, DAVID LE
BORGNE, MAYA MASSE,
RAOUL RIVA, VANIA
VANEAU
At creation
JULIE GUIBERT,
MIGUEL GARCIA
LLORENS,
RODOLPHE TOUPIN,
LÉONOR CLARY,
VENUE Living space has always fascinated Christian Rizzo. JAMIL ATTAR
SADLER’S WELLS
THEATRE une maison (a house) is a hybrid theatre piece, in which
Lighting design
performers enter into a dialogue with a suspended, CATY OLIVE
DURATION mobile lighting structure. With this work, choreographer
60 min. Media creation
and artist Christian Rizzo continues his compelling JÉRONIMO ROÉ
TO BOOK TICKETS exploration of the inscription of bodies in space.
SADLERSWELLS.COM Original music
PÉNÉLOPE MICHEL
A monumental, mobile structure made of fluorescent AND NICOLAS DEVOS
lights hangs over the stage, and functions as the (Cercueil /
Puce Moment)
architecture, the scenography and the light source of this
piece. It hovers above the performers, illuminating and Artistic assistant
SOPHIE LALY
sheltering them.
Costume production
As the stage gradually becomes covered in earth, LAURENCE ACQUIER
the house is a space where bodies circulate, murmur, Set design assistant,
resound. The company plays out encounters and media programming
YRAGAËL GERVAIS
conflicts, solitude and community.
Technical direction
and Stage manager
coordinator
There are houses that we happen THIERRY CABRERA
upon, houses that we build, houses in Lighting manager
which we host guests, and houses NICOLAS CASTANIER
that we leave behind. Sound manager
CHRISTIAN RIZZO and led mapping
SHANI BRETON
Stage manager
coordinator
RÉMI JABVENEAU
Production
and touring
ANNE FONTANESI,
ANNE BAUTZ
© Marc Domage
13 Dance Reflections by Van Cleef & Arpels FestivalLOÏE FULLER:
RESEARCH
OLA MACIEJEWSKA
ROYAL OPERA HOUSE
13 MARCH 2 pm & 5 pm
Performed by
OLA MACIEJEWSKA
Design of Serpentine
Dance Construction
JOLANTA
MACIEJEWSKA
Production
and administration
CAROLINE REDY
VENUE Ola Maciejewska’s first solo performance, Loïe Fuller:
PAUL HAMLYN HALL
Research, reprises the famous Serpentine Dances invented
DURATION by the American dancer, a controversial figure in Western
40 min. dance: merging movement with special effects, she would
TO BOOK TICKETS transform into a flame, a rippling sea and other natural
ROH.ORG.UK phenomena through the use of long swathes of silk attached
to bamboo poles. Ola Maciejewska brings the iconic legend
face to face with her paradoxes and intangible character.
This work explores how dance connects with its own past.
By chronicling dance through the body, the work pursues
a singular approach to the history of dance, as well
as the transmission and emancipation of this art form.
© Martin Argyroglo
14 Dance Reflections by Van Cleef & Arpels FestivalFASE
ANNE TERESA
DE KEERSMAEKER
ROYAL OPERA HOUSE
16 & 17 MARCH 7.45 pm
Choreography
ANNE TERESA
DE KEERSMAEKER
Performed by
LAURA BACHMAN,
SOA RATSIFANDRIHANA
Created in
collaboration with
MICHÈLE ANNE DE
MEY, ANNE TERESA
DE KEERSMAEKER
Music
STEVE REICH
Piano Phase (1967)
Come Out (1966)
Violin Phase (1967)
Clapping Music (1972)
Lighting
REMON FROMONT
VENUE Fase, Four Movements to the Music of Steve Reich, the very Costumes
LINBURY THEATRE
first work by choreographer Anne Teresa De Keersmaeker, 1981: MARTINE
ANDRÉ / ANNE TERESA
DURATION premiered in 1982. Fase comprises three duets and one DE KEERSMAEKER
70 min. solo, choreographed to four repetitive compositions
TO BOOK TICKETS by the American minimalist Steve Reich. Anne Teresa De Rehearsal director
FUMIYO IKEDA
ROH.ORG.UK Keersmaeker uses the structure of Reich’s music to develop
an independent movement idiom that does not merely Artistic coordination
illustrate the music, but enriches it with a new dimension. Both and planning
ANNE
the music and the dance explore the same founding principle VAN AERSCHOT
of ‘phase shifting’ through tiny variations: movements begin
in perfect synchrony, and then gradually start slipping Tour managers
TIS DANEELS,
and sliding, resulting in an ingenious play of continuously BERT DE BOCK,
changing forms and patterns. LAURA DELAERE
Technical director
Having always danced Fase herself, Anne Teresa De MARLIES JACQUES
Keersmaeker now passes it on to two new dancers.
Costume coordinator
FAUVE
RYCKEBUSCH
Costume production
MARIA EVA
RODRIGUES-REYES,
CHARLES GISÈLE
© Anne Van Aerschot
15 Dance Reflections by Van Cleef & Arpels FestivalCALICO MINGLING,
KATEMA,
RECLINING RONDO,
PARTICULAR REEL
LUCINDA CHILDS
– RUTH CHILDS
ROYAL OPERA HOUSE
18 MARCH 1 pm & 6 pm
Choreography
LUCINDA CHILDS
Performed by
STÉPHANIE BAYLE,
RUTH CHILDS, KARINE
DAHOUHINDJI, PAULINE
WASSERMANN
Choreographic assistant
TY BOOMERSHINE
Costumes
SEVERINE BESSON
VENUE In 2015, choreographer Lucinda Childs passed down three
PAUL HAMLYN HALL
of her iconic solos from the 1960s to her niece, Ruth Childs.
DURATION This initial artistic encounter led to the reprise of Pastime
60 min. (1963), Carnation (1964) and Museum Piece (1965).
TO BOOK TICKETS
ROH.ORG.UK Two years after this first successful collaboration, Ruth Childs
continues to breathe new life into her aunt’s choreographies
through a second selection of performances originally
created in the 1970s: Particular Reel (1973), Calico Mingling
(1973), Reclining Rondo (1975) and Katema (1978). These
works embody three cornerstones of the creative process
espoused by the pioneer of post-modern dance: use of a
score, a spatial itinerary and rhythm established without
music. This new programme focuses on the choreographer’s
aesthetic transition leading up to the 1979 creation of her
now famous work, Dance.
POST-SHOW TALK
A chance to hear the artists talk about their work, which
will take place in the auditorium following the performance.
Simply gather at the front of the auditorium near the stage.
© Mehdi Benkler
16 Dance Reflections by Van Cleef & Arpels FestivalSOMNOLE
BORIS
CHARMATZ
SADLER’S WELLS
18 & 19 MARCH 7 pm
Choreography
and performance
BORIS CHARMATZ
Choreographic assistant
MAGALI
CAILLET GAJAN
Lighting
YVES GODIN
Lighting manager
GERMAIN FOURVEL
Costumes collaboration
MARION REGNIER
Vocal work
DALILA KHATIR
With advice from
MÉDÉRIC COLLIGNON,
BERTRAND CAUSSE
VENUE Boris Charmatz explores the idea of somnolence – the feeling Sound materials inspired
LILIAN BAYLIS STUDIO
of being on the brink of sleep. After a series of group by
J.S. BACH, A. VIVALDI, B.
DURATION performances and collective events, and in contrast EILISH, THE PINK
60 min. to his work infini (see page 40), he explores the minimalist PANTHER, J. KOSMA,
TO BOOK TICKETS format of the dance solo. E. MORRICONE,
SADLERSWELLS.COM BIRDSONGS, G.F.
HAENDEL, STORMY
Accompanied only by the sheer sound of whistling, WEATHER...
melodies surface, blend and break apart. The relationship
General stage manager
between the sound and the movement is in turn deliberate, FABRICE LE FUR
halting, drowsy and acute.
Deputy director
HÉLÈNE JOLY
SOMNOLE is a vaporous dance that unites familiar
melodies and slumberous gestures. Like a body seeking Production heads
sleep, Boris Charmatz invents an insomniac dance, LUCAS CHARDON,
MARTINA HOCHMUTH
a refuge of rhythms and refrains at the frontier between
wakefulness and sleep. Production managers
JESSICA CRASNIER,
BRIAC GEFFRAULT
© Marc Domage
17 Dance Reflections by Van Cleef & Arpels FestivalTHIS IS HOW YOU WILL
DISAPPEAR
GISÈLE VIENNE
SADLER’S WELLS
18 & 19 MARCH 8.30 pm
Concept, direction,
choreography, doll
and set design
GISÈLE VIENNE
Created in collaboration
with and performed by
JONATHAN
CAPDEVIELLE, NURIA
GUIU SAGARRA,
JONATHAN SCHATZ
Musical composition
STEPHEN O’MALLEY,
PETER REHBERG
Book and lyrics
DENNIS COOPER
Lighting design
PATRICK RIOU
Fog sculpture
FUJIKO NAKAYA
VENUE Created in 2010 for the Festival d’Avignon, This is how you
SADLER’S WELLS
THEATRE will disappear is a giant installation as well as a dance piece. Video
SHIRO TAKATANI
It explores the shifting depths of a forest with a sinister secret.
DURATION
75 min.
In this ominous, foggy setting, three figures – a young athlete, Costumes and styling
her coach and a rock star – come together in an epic tableau JOSÉ ENRIQUE
OÑA SELFA
TO BOOK TICKETS that evokes the underlying battle between society and the self.
SADLERSWELLS.COM
Doll fabrication
This striking theatrical experience is set in an immense RAPHAËL RUBBENS,
DOROTHÉA
forest – a large-scale, naturalistic installation. Curious VIENNE-POLLAK
weather events soon rip through the landscape, disrupting
space, perception and sensation and pitting the beauty Recreation of trees
and consultancy
of order against that of chaos. This contrast resonates HERVÉ MAYON /
with the three characters. LA LICORNE VERTE
Hollowing and
The coach represents authority, upholding an orderly recreation of trees
structure. The young gymnast typifies the beauty of culturally FRANÇOIS CUNY /
defined perfection. The rock star personifies the allure of O BOIS FLEURI, LES
ATELIERS DE GRENOBLE
anarchy. This is how you will disappear is an epic performance
that probes to startling effect the contradictory cultural ideals Makeup and hair
REBECCA FLORES
and standards of beauty at work in today’s world.
Fog engineering
URS HILDEBRAND
POST-SHOW TALK
General direction
A chance to hear Gisèle Vienne talk about her work, which NICOLAS BARROT
will take place in the auditorium following the performance.
Simply gather at the front of the auditorium near the stage. Stage management
PHILIPPE DELIENS,
ANTOINE HORDÉ
Lighting desk
ARNAUD LAVISSE,
SAMUEL DOSIERE
Sound desk
© Sheldon Hunt
ADRIEN MICHEL
Floor decor
MICHEL ARNOULD, Costumes creation
CHRISTOPHE TOCANIER MARINO MARCHAND
18 Dance Reflections by Van Cleef & Arpels FestivalTHE COLLECTION
ALESSANDRO
SCIARRONI
BY LYON OPERA BALLET
ROYAL OPERA HOUSE
19 MARCH 7.45 pm & 20 MARCH 4.30 pm
Choreography
ALESSANDRO
SCIARRONI
Performed by
LYON OPERA BALLET
Music
PABLO ESBERT
LILIENFELD
Lighting
ROCCO GIANSANTE
Costumes
ETTORE LOMBARDI
VENUE From Schuhplattler – the traditional Tyrolean dance in which
LINBURY THEATRE
performers strike the soles of their shoes and their thighs
DURATION with their hands – Sciarroni creates a series of combinations
Approx. 80 min. that test the dancers’ physical endurance. As in the film
TO BOOK TICKETS They Shoot Horses, Don’t They?, the piece ends when there
ROH.ORG.UK is only one dancer left on stage – or no more audience!
Coming from the visual and performing arts world, Sciarroni
is fascinated by the limits of physical performance and
the exhaustion of forms, as he had already shown in 2016
with his TURNING_Motion Sickness, a real mystical
experience created for the Lyon Opera Ballet. Here, the Italian
choreographer works again with the company to re-create
one of his iconic works, the third part of a triptych begun with
Untitled and Aurora. Taking motifs inspired by the Tyrolean
Schuhplattler, Sciarroni rewrites traditional ideas and
transposes them into the collective imagination of clubbing,
in order to better connect them to our times.
On stage, a relentless mechanism reveals, through small
variations on a pre-established motif, a metaphor for
the world and the time in which we live. A post-modern
performance, both physical and intellectual, totally hypnotic,
that takes form and intention to the point of exhaustion.
© Marc Domage
19 Dance Reflections by Van Cleef & Arpels FestivalSAVE THE LAST
DANCE FOR ME
ALESSANDRO
SCIARRONI
ROYAL OPERA HOUSE
20 MARCH 3.30 pm
Invention
ALESSANDRO
SCIARRONI
Performed by
GIANMARIA BORZILLO,
GIOVANFRANCESCO
GIANNINI
Artistic collaboration
GIANCARLO STAGNI
Music
AURORA BAUZÀ, PERE
JOU (TELAMANN REC.)
Styling
ETTORE LOMBARDI
Technical direction
VALERIA FOTI
Promotion, development,
advice
VENUE In Save the last dance for me, Alessandro Sciarroni works LISA GILARDINO
CLORE STUDIO
with dancers Gianmaria Borzillo and Giovanfrancesco
Administration
DURATION Giannini using a Bolognese dance step known as ‘Polka CHIARA FAVA
20 min. Chinata’. A courtship dance dating back to the early
TO BOOK TICKETS thwentieth century, it was originally performed only Communication
PIERPAOLO FERLAINO
ROH.ORG.UK by men: physically demanding, even acrobatic, it involves
dancers whirling around in a crouching position, facing
each other with arms interlocked. The work was created
in collaboration with Giancarlo Stagni, a Filuzzi dance
master who brought this age-old tradition back to life by
studying unearthed documentary videos from the 1960s.
Sciarroni discovered this dance in December 2018. At that
time, it was practised by no more than five dancers
in all of Italy. The project was thus designed to include
a performance by two of these dancers, as well as a series
of workshops intended to promote and revive this
endangered popular tradition.
WORKSHOP
The performers will be leading an exclusive workshop (Sun 20
at 12 noon). Participants will dive into this Polka Chinata, helping
revive an art form on the brink of extinction. Although the dance
is traditionally reserved for men, this workshop is open to all.
Limited space available. Registration through ROH website
© Claudia Borgia, Chiara Bruschini
20 Dance Reflections by Van Cleef & Arpels FestivalINFINI
BORIS
CHARMATZ
SADLER’S WELLS
22 & 23 MARCH 7.30 pm
Choreography
BORIS CHARMATZ
Performed by
BORIS CHARMATZ,
ASHLEY CHEN,
RAPHAËLLE DELAUNAY,
FABRICE MAZLIAH,
SOLÈNE WACHTER
Choreographic assistant
MAGALI
CAILLET GAJAN
Lighting design
YVES GODIN
Lighting manager
MELISSANDRE HALBERT
Sound
OLIVIER RENOUF
Costumes
VENUE Staged in Sadler’s Wells main theatre but in an intimate JEAN-PAUL
SADLER’S WELLS
THEATRE configuration with seating for only 400, including some on LESPAGNARD
stage, this is a unique presentation. Numbers and counting Vocal work
DURATION
70 min.
set the pace – and the theme – for this remarkable work. DALILA KHATIR
For centuries, dancers have counted to four, six or eight,
General stage manager
TO BOOK TICKETS and then started over. In modern choreography, they may FABRICE LE FUR
SADLERSWELLS.COM
count in more complex ways, combining thirteens and fives,
but what would happen if they counted to infinity? Deputy director
HÉLÈNE JOLY
Boris Charmatz explores the relationship between the finite Production heads
nature of the body and concepts of infinity. Navigating LUCAS CHARDON,
MARTINA HOCHMUTH
mathematical purity and the symbolic value attached to
numbers, the performers mesmerize as they dance and count Production managers
at the same time, in a test of memory and resilience. They JESSICA CRASNIER,
BRIAC GEFFRAULT
count on the spot, backwards, towards the infinitely small
and the infinitely large, alone or in unison, keeping the beat
or standing in the face of time.
I’ve always hated counting while dancing…
I’ve always preferred letting my mind wander…
in this piece, we count, speak and sing, and dance,
but it’s only so that we can wander better.
BORIS CHARMATZ
POST-SHOW TALK
A chance to hear the artists talk about their work, which
will take place in the auditorium following the performance.
Simply gather at the front of the auditorium near the stage.
© Laurent Philippe
21 Dance Reflections by Van Cleef & Arpels FestivalWHEN WE SPEAK
I FEEL MYSELF OPENING
SERAFINE 1369
SADLER’S WELLS
22 & 23 MARCH 9 pm
Performed by
SERAFINE1369,
FERNANDA
MUÑOZ-NEWSOME
AND GUESTS
Latex costume
and artefacts
AGF HYDRA
Lighting
JACKIE SHEMESH
Sound
JOSH ANIO GRIGG
VENUE When one thing shifts, so does everything else. Something
LILIAN BAYLIS STUDIO
simple. Something mythological. Something about the weight
DURATION of each gesture. Something about the ways that forces form
60 min. bodies.
TO BOOK TICKETS
SADLERSWELLS.COM A study in walking and weight-distribution, thinking about
how we move with what we must carry, heaviness and
lightness, light and dark, and the shifting perception of time.
Tuning to micro movements, the subconscious pull marking
the beginning of a feeling connects multiple cycles, both
internal and external.
Working with the detail of sensory experience, When we speak
I feel myself, Opening seeks to give voice to sensations and
impulses as they rise to the surface.
A duet by SERAFINE1369 performed with Fernanda Muñoz-
Newsome. SERAFINE1369 is the London-based artist
and dancer Jamila Johnson-Small, one half of Sadler’s Wells
New Wave Associate Project O.
© Katarzyna Perlak
22 Dance Reflections by Van Cleef & Arpels FestivalSET AND RESET
TRISHA BROWN
TATE MODERN
VENUE
THE TANKS
SET AND RESET BY TRISHA BROWN Premiere
Next Wave Festival, BAM
WITH RAMBERT DANCE COMPANY Opera House, Brooklyn
DATES & TIMES
SAT 12: 12 — 14 MARCH 2022 Academy of Museum,
Brooklyn, New York,
4 pm & 6.30 pm
SUN 13:
For the first time, Trisha Brown’s masterpiece of post-modern 20–23 October 1983.
3 pm & 5.30 pm dance, Set and Reset, will be licensed outside of the Trisha
MON 14: Brown Dance Company and performed by Rambert, Choregraphy
5 pm & 7.30 pm
showcasing the fluid and unpredictable style of Brown’s TRISHA BROWN
DURATION original choreography, which transformed dance history.
Music
24 min. Working with a process of memorized improvisation, in LAURIE ANDERSON
TO BOOK TICKETS Set and Reset, Brown layered phrases and timing to create Long Time No See
TATE.ORG.UK a deconstruction of choreographic practice. Like the original
Visual design
production, it will feature stage-set and costumes by Robert ROBERT
Rauschenberg, lighting design by Beverly Emmons and music RAUSCHENBERG
by Laurie Anderson, which were key parts of the project.
Lighting
Brown stated that Set and Reset was defined by BEVERLY EMMONS
‘metamorphic relationships; relationships between figures
both plastic and organic, about space, both physical Direction
CAROLYN LUCAS,
and aural’. JAMIE SCOTT,
MARC CROUSILLAT
VENUE
THE TANKS
SET AND RESET / UNSET
13 MARCH — 28 AUGUST 2022
DATES & TIMES
SUN 13: 11.30 am As part of Tate’s display of a major installation representing
WED 23: 4.30 pm Set and Reset in the gallery, Rambert will present Set and
Followed by Reset / Unset – a series of performance lectures that will
presentations on
the last weekend provide visitors with rare insight into the core principles and
of each month until processes that Brown used to shape the choreography.
August. See Tate
website for details.
The project builds upon Trisha Brown’s own history of
DURATION combining spoken-word with movement and performance
Approx. 30 min.
lectures where she explained the process of making
Set and Reset while her dancers performed on stage.
Set and Reset / Unset will draw upon archival materials
from the Trisha Brown Company Archive and feature
dancers re-building sections of choreography live using
the same parameters that Brown set for her dancers.
1. KEEP IT SIMPLE (the clarity issue)
2. PLAY WITH VISIBILITY AND INVISIBILITY (the privacy issue)
3. IF YOU DON’T KNOW WHAT TO DO,
GET IN LINE (helping out with downtime)
4. STAY ON THE OUTSIDE EDGE
OF THE STAGE (the spatial issue)
5. ACT ON INSTINCT (the wild card)
This expanded demonstration will open up the intricate way
Brown formed her choreography, the role of the dancer in this
process, and the importance of Set and Reset to dance and art
history.
23 Dance Reflections by Van Cleef & Arpels FestivalVENUE
THE TANKS
SET AND RESET / RESET: Choreography of
Set and Reset (1983)
CANDOCO DANCE COMPANY TRISHA BROWN
DATES & TIMES
SAT 19: 19 — 21 MARCH 2022 Choreography of
4 pm & 6.30 pm
SUN 20:
Candoco Dance Company presents Set and Reset / Reset, Set and Reset / Reset
(2022)
3 pm & 5.30 pm a reconstruction of Trisha Brown’s Set and Reset. The COMBINATION OF
MON 21: dancers move with dream-like fluidity within a kaleidoscopic THE ORIGINAL AND
5 pm & 7.30 pm CANDOCO DANCERS’
form to Laurie Anderson’s driving score in their unique CHOREOGRAPHY
DURATION version of Trisha Brown’s choreography.
24 min. Direction of
Set and Reset / Reset
TO BOOK TICKETS First created in 2011 with Abigail Yager, a former member (2021)
TATE.ORG.UK of the Trisha Brown Dance Company, it uses Brown’s set of ABIGAIL YAGER
instructions to examine what Yager describes as: ‘the shifting
Co-Direction of
nature of choreography in relation to underlying structures Set and Reset / Reset
that anchor a dance to itself. The process of re-construction (2021)
(as opposed to replication) is a negotiation between freedom JAMIE SCOTT
and limit – an exploration of possibility as the dancers create Music
a new version of Trisha Brown’s landmark choreography.’ LAURIE ANDERSON
(music used with
the kind permission
Through this process, Set and Reset / Reset represents of Canal Street
a significant example of an artist creating a living legacy Communications /Laurie
for their work that allows for new creative input, an iteration Anderson Studio)
of Brown’s choreographic brilliance, in conversation Set Design
with the impulses and instincts of the dancers performing ROBERT
this work. RAUSCHENBERG
Costumes
CELESTE
DANDEKER-ARNOLD
My concept was to force the esprit OBE
of improvisation – a mercurial element – (based on the original
design
into a memorized choreography. by Robert Rauschenberg
TRISHA BROWN in 1983)
Original restaging
Co-commissioned by
Dance Umbrella 2011
© Camilla Greenwell
24 Dance Reflections by Van Cleef & Arpels FestivalFILMS
Director
ELLIOT CAPLAN
Musicians
JOHN D.S. ADAMS,
BEACH BIRDS FOR CAMERA
TAKEHISA KOSUGI, ELLIOT CAPLAN (DIRECTOR)
Choreography
MERCE CUNNINGHAM
MICHAEL PUGLIESE,
DAVID TUDOR MERCE CUNNINGHAM (CHOREOGRAPHER)
ROYAL OPERA HOUSE LINBURY THEATRE
Featuring Costumes
HELEN BARROW, MARSHA SKINNER 14 MARCH 6 pm
KIMBERLY BARTOSIK,
MICHAEL COLE, EMMA Director of photography
Beach Birds for Camera is an adaptation of a dance work
DIAMOND, VICTORIA MATTHEW WILLIAMS originally made for the stage, adding three additional dancers.
FINLAYSON, FREDERIC This film combines different shooting locations, black and
GAFNER, ALAN GOOD, Editing white and colour film, and Dolby stereo sound to present
DAVID KULICK, PATRICIA ELLIOT CAPLAN,
LENT, LARISSA MERCE CUNNINGHAM dance through the visual medium of film.
MCGOLDRICK, RANDALL
SANDERSON, ROBERT Production
SWINSTON, CAROL THE CUNNINGHAM
TEITELBAUM, JENIFER DANCE FOUNDATION
WEAVER
Music
JOHN CAGE, FOUR3
© DR / Centre national
de la danse CND
Director
THIERRY DE MEY
Editing
RUDI MAERTEN
ROSAS DANST ROSAS
THIERRY DE MEY (DIRECTOR)
Choreography
ANNE TERESA DE
Sound
RICARDO CASTRO ANNE TERESA DE KEERSMAEKER
KEERSMAEKER (CHOREOGRAPHER)
Mixing ROYAL OPERA HOUSE LINBURY THEATRE
Featuring THOMAS GAUDER
CYNTHIA LOEMIJ, 14 MARCH 7.45 pm
SARAH LUDI, ANNE Assistant Thierry De Mey filmed Rosas danst Rosas in the former
MOUSSWELET, to the director
SAMANTHA ANNE VAN AERSCHOT technical school of architect Henry Van de Velde in Leuven.
VAN WISSEN The film version is much shorter than the show itself. In his
Production film, Thierry De Mey opts for a heavily ‘inter-cut’ version,
Director of photography AVILA & SOPHIMAGES
MICHEL HOUSSIAU in which, apart from the cast of four dancers from 1995
and 1996, he also has all the other performers from the long
Camera history of the show along. He makes maximum use of the
PHILIPPE GUILBERT,
JORGE LEON geometrical and spatial qualities of the Van de Veldes
building. Incidentally, the building was thoroughly renovated
straight after the film was made, making it one of the last
testimonials to the original architecture. The film was shown
on all of the major European television channels and also
had a cinema career on the art-house circuit.
© Herman Sorgeloos
25 Dance Reflections by Van Cleef & Arpels FestivalDirector
PATRIC CHIHA
Director
of photography
IF IT WERE LOVE
JORDANE PATRIC CHIHA (DIRECTOR)
Based on
CROWD BY
CHOUZENOUX
GISÈLE VIENNE (CHOREOGRAPHER)
GISÈLE VIENNE Editing ROYAL OPERA HOUSE LINBURY THEATRE
ANNA RICHE
Featuring 23 MARCH 6 pm
PHILIP BERLIN, MARINE
CHESNAIS, KERSTIN
Sound
PIERRE BOMPY
Fifteen young dancers of different origins and backgrounds
DALEY-BARADEL, are on tour with Crowd, Gisèle Vienne’s epic dance piece
SYLVAIN DECLOITRE, Sound editing exploring the 1990’s rave scene. From theatre to theatre,
SOPHIE DEMEYER, & mixing the work mutates into strange, intimate relationships. Is the
VINCENT DUPUY, MIKAËL BARRE
MASSIMO FUSCO, NURIA stage contaminating real life – or the opposite? A disturbing
GUIU SAGARRA, REHIN Color grading journey exploring our nights, our parties, our loves.
HOLLANT, GADIEL BENDELAC
ANTOINE HORDE,
GEORGES LABBAT, Administration
OSKAR LANDSTRÖM, YANN PICHOT
THEO LIVESEY, LOUISE
PERMING, Line producer
KATIA PETROWICK, KATIA KHAZAK
RICHARD PIERRE,
ANJA RÖTTGERKAMP, Production
JONATHAN SCHATZ, CHARLOTTE VINCENT,
GISÈLE VIENNE, AURORA FILMS
HENRIETTA WALLBERG,
© Aurora Films
TYRA WIGG
Executive film director
SOPHIE LALY
Original and live Music
DIDIER AMBACT AND
D’APRÈS UNE HISTOIRE VRAIE
KING Q4 CHRISTIAN RIZZO (CHOREOGRAPHER)
Camera
SOPHIE LALY, Lighting
ROYAL OPERA HOUSE LINBURY THEATRE
PHILIPPE VUILLERMET CATY OLIVE 23 MARCH 8.15 pm
Conception, Artistic assistant The true story revolves around a group of guys: eight dancers
choreography, set design SOPHIE LALY and two drummers, with tousled hair and bushy beards.
and costumes
CHRISTIAN RIZZO Production editing
It is the tale of a distant and elusive memory that summons
BUREAU CASSIOPÉE up deep-seated emotions for Christian Rizzo: a sudden folk
Featuring dance improvised by a group of men in the streets of Istanbul.
FABIEN ALMAKIEWICZ, Production
YAÏR BARELLI, MASSIMO ICI — CENTRE
FUSCO, MIGUEL CHORÉGRAPHIQUE To the throbbing, bewitching or downright rock rhythm of
GARCIA LLORENS, PEP NATIONAL drum sets, the choreographer leads his men in a breathtaking
GARRIGUES, KEREM MONTPELLIER -
GELEBEK, FILIPE OCCITANIE / ballet to bring this recollection back to life. Undulations,
LOURENÇO, ROBERTO DIRECTION CHRISTIAN rounds, chains and leaps: the performers cast the motif of
MARTÍNEZ RIZZO a very masculine dance suffused with Mediterranean colours.
An ode to the joy of being and dancing together, fashioned
from fragility and solidarity, a blend of delicacy and
irresistible energy.
© Marc Domage
26 Dance Reflections by Van Cleef & Arpels FestivalBIOGRAPHIES
KATERINA ANDREOU BORIS CHARMATZ
Katerina Andreou is a Greek Dancer, choreographer,
dancer and choreographer and creator of experimental
living in France. A graduate projects including the
of Athens Law School and nomadic school Bocal,
the National Dance Academy the Musée de la Danse
in the Greek capital, she also and [terrain], an institution
© Milto Exakoustidis attended the ESSAIS © Donald Christie with no roof or walls, Boris
program at the National Center for Contemporary Charmatz subjects dance to formal constraints
Dance in Angers. She holds a Master’s Degree which redraw the field of possibilities. The stage
in choreographic research from the University becomes a notebook where he drafts concentrated
of Paris VIII. In her career as a performer, she has organic concepts to observe the chemical reactions,
collaborated with figures such as DD Dorvillier, intensities, and tensions engendered by their
Anne Lise Le Gac, Lenio Kaklea, Bryan Campbell, encounter. From 2009 to 2018, he is director
Dinis Machado, Emmanuelle Huynh and Ana Rita of Musée de la Danse / Centre Chorégraphique
Teodoro. In her own work, she develops a unique National de Rennes et de Bretagne. In January 2019,
physical practice for each project. Her he creates [terrain], an association established in
performances seek out the states of being arising the Region Hauts-de-France in partnership with
from the perpetual negotiation among different Le phénix, scène nationale Valenciennes, the Opéra
tasks, highlighting contrasting, even contradictory de Lille and the Maison de la Culture d’Amiens. Boris
fictions or worlds, often questioning notions Charmatz is also associate artist of Charleroi danse
of authority and censorship. She herself creates (Belgium) from 2018 to 2022. He is the author
the sound environments for her productions, of a series of seminal works , from À bras-le-corps
which become her main storytelling tool. In 2016, (1993) to La Ronde (2021), in addition to his activity
Katerina Andreou was awarded the Prix Jardin as a performer and improviser in collaboration with
d’Europe for her solo piece A Kind of Fierce at the Médéric Collignon, Anne Teresa De Keersmaeker,
ImpulsTanz Festival. Subsequent creative projects and Tino Sehgal.
include BSTRD (2018) and the duet Zeppelin Bend
(2020) with Natali Mandila.
LUCINDA CHILDS
Lucinda Childs was inspired
TRISHA BROWN by dance and theater since
Trisha Brown (1936-2017) she was a child. Her
is considered one of the most encounter with Merce
inventive and influential Cunningham cemented her
dancers and choreographers path in life. She was part of a
of the second half of the © Lucie Jansch collective of artists including
20th century. She founded Yvonne Rainer, Steve Paxton, and Trisha Brown at
© Johan Elbers her dance company in 1970. the Judson Dance Theater. She launched her
In doing so, she embarked on a 40-year odyssey choreography career in 1963 with Pastime. After
along the many paths of contemporary dance, 1968, she began applying a deconstructionist logic
marked by improvisation and experimentation, to the classical dance vocabulary. A few years later
pushing back the limits of the body and she launched her own dance company, where she
appropriating unexpected urban and natural developed a minimalist language of movement.
spaces (rooftops, walls, galleries, etc.). A creator After 1976, she began a series of collaborations
of more than 100 choreographies and six operas, with Robert Wilson, including his unforgettable
she was also a visual artist, collaborating over solo in the opera, Einstein on the Beach, with music
the years with innovative artists including Robert by Philip Glass. In 1979, Childs created her first
Rauschenberg and Laurie Anderson. large-scale group piece, Dance, with music from
the same composer, subsequently presented in
27 Dance Reflections by Van Cleef & Arpels Festivalmultiple reiterations and still today making a grounded in a rigorous and prolific exploration
part of the Opéra de Lyon Ballet’s repertory. She of the relationship between dance and music. With
collaborated with artists such as Frank Gehry to Rosas, she has created a wide-ranging body of
create Available Light in 1983. The year after, she work engaging musical structures and scores from
created Premier Orage (First Storm) for the Ballet de several periods, from early music to contemporary
l’Opéra de Paris, and in 1990 Perfect Stranger for the and popular expression. Her choreographic
Ballet de l’Opéra de Lyon. She has directed several practice also draws formal principles from
operas, including Gluck’s Orfeo ed Euridice (Orpheus geometry, numerical patterns, the natural world
and Eurydice) for the Kiel Opera House in 2016. and social structures to offer a unique perspective
on the body’s articulation in space and time.
In 1995, De Keersmaeker established the school
P.A.R.T.S. (Performing Arts Research and Training
Studios) in Brussels in association with De Munt/La
Monnaie.
RUTH CHILDS
Dancer and performer Ruth
Childs was born in 1984 in
London and grew up in the
United States, where she
studied music and classical BRIGEL GJOKA
and contemporary dance. Brigel Gjoka was trained at
© Georges Cabrera In 2003, Childs moved to the Tirana School of Ballet
Geneva to finish her dance training at the Ballet in his native Albania and at
Junior de Genève. From there, she went on to the Rosella Hightower School
collaborate with several internationally renowned of Dance in France. Between
choreographers and directors, including Foofwa 2006 and 2010, he performed
d’Imobilité, La Ribot, Gilles Jobin, Massimo Furlan, © Armand Habazaj as a professional dancer
Marco Berrettini, and Yasmine Hugonnet. Since in several prestigious institutions across Europe,
2015, Childs has pursued a project recreating in particular the Ballet de l’Opéra National du Rhin,
the early works of her aunt, the American the Staatstheater Mainz and the Nederlands Dans
choreographer Lucinda Childs. In 2014, she Theater. In 2011, he joined the Forsythe Company,
founded the company Scarlett’s to incorporate where for five years he took part in William
dance, performance, film and music into her Forsythe’s new creations and performed in a wide
personal work and to collaborate with Stephane range of works from the American choreographer’s
Vecchione on a new musical project titled repertoire. In 2016, he participated in Life In
Scarlett’s Fall. In 2016, the Canton of Geneva Progress, Sylvie Guillem’s worldwide farewell tour,
offered Childs a 6-month research residency in dancing DUO2015 by William Forsythe. From 2013
Berlin, and in 2018, in collaboration with Stéphane to 2017, he received support from the Goethe
Vecchione, she released her first stage piece, Institut as a choreographer, and served as Artistic
The Goldfish and the Inner Tube, followed by Director of Art Factory International Bologna
a solo piece, fanstasia in 2019. between 2014 and 2020. He participated in A Quiet
Evening of Dance, William Forsythe’s final
production, which was awarded the 2018 FEDORA
– Van Cleef & Arpels Prize for Ballet. A worldwide
tour began thereafter and has been continuing
since. Brigel Gjoka teaches and lectures around
ANNE TERESA DE the world. He also leads dance and choreography
KEERSMAEKER workshops based on his own work and inspired by
In 1980, after studying dance William Forsythe.
at Mudra School in Brussels
and Tisch School of the Arts
in New York, Anne Teresa
De Keersmaeker (b. 1960)
© Johan Jacobs created Asch, her first
choreographic work. Two years later came the
premiere of Fase, Four Movements to the Music
of Steve Reich. De Keersmaeker established the
dance company Rosas in Brussels in 1983, while
creating the work Rosas danst Rosas. Since these
breakthrough pieces, her choreography has been
28 Dance Reflections by Van Cleef & Arpels FestivalYou can also read
