1 & Gérard Grisey 1996 Jean-Luc Plouvier Tristan MurailMichaël Levinas Hugues Dufourt 1980spectralismserial music polyphony A B B

Size: px

Start display at page:

Download "1 & Gérard Grisey 1996 Jean-Luc Plouvier Tristan MurailMichaël Levinas Hugues Dufourt 1980spectralismserial music polyphony A B B"

勋焙封
5 years ago
Views:

1 Vortex Temporum & Ictus :30PM 60 Approx. 60 minutes without intermission. Latecomers will not be admitted. The program is subject to change

2 1 & Gérard Grisey 1996 Jean-Luc Plouvier Tristan MurailMichaël Levinas Hugues Dufourt 1980spectralismserial music polyphony A B Book of Changes

3 2 & Asch Fase

4 3 & ( ) ( ) Sub Rosa 2004 Vortex Temporum Gérard Grisey completed Vortex Temporum his magnum opus for seven musicians in His meditation on sound and time served as a testament, as Grisey died two years later. Anne Teresa De Keersmaeker takes on Grisey s polyphony with a danced counterpoint for seven dancers. How can you visualise polyphony by dancing it? And how can a dancer embody a counter voice to polyphonic music? Inevitably the choreographer probes the issue: what is time? Dancing the question is in itself a kind of answer. As the early Christian philosopher Saint Augustine wrote, time is self-evident until, that is, one attempts to put into words what it is exactly. Time, as perceived by human beings, can shrink, expand, stand still or jump forward, depending on what is unfolding upon its canvas. In Vortex Temporum, Grisey has turned time into something tangible by listening to how sound, as a physical phenomenon, behaves in space, much in the same way air may only be perceived when the wind chases leaves through it. A short motif of four notes an arpeggio from Ravel s Daphnis et Chloé snowballs from simplicity to complexity and back. Grisey makes the trembling of molecules sound s matter perceivable by examining it on three different scales: with human eyes, through a molecular microscope, and by zooming out on it through a telescope something Grisey calls it the time of humans, insects and whales. De Keersmaeker laid out her choreography measure for measure, second by second against Grisey s complex score. As she explains: Grisey s Vortex Temporum is an astonishing achievement: at once raw and refined, rigorously structured and wildly organic, primitive even. Just like Grisey, I have submitted a very simple dance phrase to a series of transformations, closely following the music but with an autonomous logic proper to dance. De Keersmaeker has chosen to stage an intricate intertwining of sound and movement. Each dancer is linked to one of the seven musicians, and colours his or her dancing with patterns of movement proper to every instrument. Both the dancers and musicians travel around the stage following a pattern a vortex of swirling circles. The piece is De Keersmaeker s danced attempt at answering the unanswerable question, what is time? : Time can be thought of as both linear and cyclical. That which we call now the crack between the present and the future that we live in is in fact a

5 4 & 留白部位提供觀眾打洞收藏之用permanent tipping point, a balancing act between memory and anticipation, leaning back and forth between the ghost image of the past and a desire towards the future. Anne Teresa De Keersmaeker, Choreographer In 1980, after studying dance at Mudra School in Brussels and Tisch School of the Arts in New York, Anne Teresa De Keersmaeker (b. 1960) 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 grounded in a rigorous and prolific exploration of the relationship between dance and music. She has created with Rosas a wide-ranging body of work engaging the musical structures and scores of several periods, from early music to contemporary and popular idioms. Her choreographic practice also draws formal principles from geometry, numerical patterns, the natural world, 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. Gérard Grisey, Composer Gérard Grisey was born in 1946 and studied composition with Olivier Messiaen, Dutilleux, Stockhausen, Ligeti, and Xenakis, and electroacoustics with Jean-Marie Etienne and Emile Leipp. Scholar of the Villa Medici in Rome between 1972 and 1974, he was influenced by the late Giacinto Scelsi. He later became an intern at IRCAM and then taught at the University of California at Berkeley from 1982 to In 1986, he was appointed professor at the Paris Conservatory of Music. He died suddenly on November ; a few days after completing the Quatre chants pour franchir le seuil. Gérard Grisey is one of the most important protagonists of the movement known as spectral music, which he helped to create. Turning away from the serialist mentality developed after the war, he built a new spectrum between harmonics and noise that originates in natural resonance, which in themselves give color to a number of acoustical properties. Starting in the eighties, he sought to reintroduce his music representations and quasithematic identities, which are capable of sustaining long-term forms that renew the principle of varied repetition and development. Works like Les espaces acoustiques ( ), Vortex Temporum ( ), and Quatre Chants pour franchir le seuil have been major successes, as have many of his other pieces, making Grisey one of the most important and original composers of his generation. Ictus Ictus is a Brussels-based contemporary music ensemble. The ensemble's home since 1994 has been the Rosas dance company's premises. Headed by Anne Teresa De Keersmaeker the dance troupe has put on fourteen productions in collaboration with Ictus (from Amor Constante to Drumming, Rain and more recently Vortex Temporum). Ictus has also collaborated with other choreographers including Wim Vandekeybus, Maud Le Pladec, Eleanor Bauer and Fumiyo Ikeda. Ictus is a permanent group of 20 or so co-opted musicians including the conductor Georges-Elie Octors. A sound engineer is a regular presence in their midst, a sign of the massive movement ensembles are seen to be making towards the status of a mixed electric orchestra. Amongst the twenty or so CDs released by Ictus, the two albums devoted to Fausto Romitelli have been particularly influential due to the audacity of their mixes. Ictus is now launching a new collection under the label Sub Rosa, Contra Naturam. Ictus joins forces with Bozar and the Kaaitheater every year to develop a season with which to regale audiences in Brussels, an opportunity to experiment with new programmes to be offered to a non-specialist audience with broad cultural interests, people with an enthusiasm for theatre dance and music. Since 2004, the ensemble is also resident at the Lille Opera. In addition to fundamental work with the Opera (themed concerts and educational activities), every year Ictus puts on a stage production. Fans will no doubt remember the 2004 production of Georges Aperghis Avis de Tempête, Michaël Levinas 2011 production of La Métamorphose and Wolfgang Mitterer s 2016 production of Marta. The issue of formats and listening systems has now been put in the mix: mini or maxi concerts, mystery programmes (the Blind Dates in Ghent), concerts with comments, concerts-cum-festivals where the audience is at liberty to roam around the stages (the landmark Liquid Room events showcased all over Europe). Finally, Ictus is running an Advanced Master dedicated to the interpretation of contemporary music in collaboration with the Ghent School of Arts.

6 5 & CREDITS Choreography Anne Teresa De Keersmaeker Created with and danced by Boštjan Antončič, Carlos Garbin, Marie Goudot, Cynthia Loemij, Julien Monty, Michaël Pomero, Igor Shyshko Music Vortex temporum, Gérard Grisey (1996) Music director Georges-Elie Octors Musicians Ictus Jean-Luc Plouvier ( Piano) Chryssi Dimitriou ( Flute) Dirk Descheemaeker ( Clarinet) Igor Semenoff ( Violin) Jeroen Robbrecht ( Viola) Geert De Bièvre ( Cello) Light design Anne Teresa De Keersmaeker, Luc Schaltin Light artistic advisor Michel François Costumes Anne-Catherine Kunz Costumes assisted by Valérie De Waele Musical dramaturgy Bojana Cvejić Artistic assistant Femke Gyselinck Artistic coordination and planning Anne Van Aerschot Technical director Joris Erven Sound Alexandre Fostier Wardrobe Valérie De Waele Sewing Maria Eva Rodriguez, Tatjana Vilkitskaia Technicians Philippe Fortaine, Michael Smets Production Rosas Co-production De Munt / La Monnaie (Brussels), Ruhrtriennale, Les Théâtres de la Ville de Luxembourg, Théâtre de la Ville (Paris), Sadler s Wells (London), Opéra de Lille, ImpulsTanz (Vienna), Holland Festival (Amsterdam), Concertgebouw Brugge (Bruges) World premiere 2013/10/3 Ruhrtriennale Special thanks to Thierry Bae, Jean-Paul Van Bendegem Rosas is supported by the Flemish Community QR Code TIFA

南華大學數位論文

南華大學數位論文 Modern Dance and Cultural Identity A Study on Contemporary Indigenous Choreographers in Taiwan Modern Dance and Cultural Identity A Study on Contemporary Indigenous Choreographers in Taiwan Chen Yang-Wei