B C Les Ballets C. de la B. Capilla Flamenca

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1 B C Les Ballets C. de la B. Capilla Flamenca

2 Kwai Tsing Theatre Auditorium B C Les Ballets C. de la B./Capilla Flamenca Foi Running time: approximately 1 hour 40 minutes with no interval To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

3 Creative Team Director and Choreographer Sidi Larbi Cherkaoui Music Director Dirk Snellings Created and Performed by Christine Leboutte Joanna Dudley Lisbeth Gruwez Alexandra Gilbert Ulrika Kinn Svensson Erna Ómarsdóttir Laura Neyskens Darryl E Woods Damien Jalet Nicolas Vladyslav Nam Jin Kim Marc Wagemans Page 7 Credit List Set Designer Rufus Didwiszus Lighting Designer Jeroen Wuyts Sound Designer Eddie Latine Costume Designer Isabelle Lhoas Dramaturge Isnel da Silveira Coach Christine De Smedt

4 Music Page 8 Credit List Capilla Flamenca Countertenor Marnix De Cat Tenor Jan Caals Baritone Hendrik Vanden Abeele Bass Dirk Snellings Viol Liam Fennelly Lute Jan Van Outryve Bagpipe and Recorder Jowan Merckx Producton Team Stage Manager Wim Van de Cappelle Lighting Engineer Krispijn Schuyesmans Photographer Kurt van der Elst Production and Tour Management Lies Vanborm Iris Raspoet Hilde Debuck Production Assistant Veerle Gevaert Dance Workshop Sat10:00 am - 1:00 pm Rehearsal Room 3, Hong Kong Cultural Centre Grand Theatre For details, please refer to Festival Plus Booklet or Festival Website

5 B C Production Les Ballets C. de la B. Co-producers Schaubühne am Lehninerplatz Berlin Théâtre de la Ville (Paris) Monaco Dance Forum Holland Festival Oude Muziek Utrecht & Springdance/works (Utrecht) Vooruit Arts Centre (Ghent) Stedelijke Concertzaal De Bijloke (Ghent) South Bank Centre (London) Tanzquartier Wien (Vienna) PACT Zollverein Essen/ Choreographisches Zentrum NRW With the support of Ministry of the Flemish Community City of Ghent Province East-Flanders National Lottery Page 9 Credit List Special thanks to Theater Stap Etienne De Grave Raven Vanden Abeele Alamire Foundation Ted Stoffer Frédéric Denis Bérengère Alfort Nienke Reehorst ( Fri) Meet-the-Artist (Post-Performance) You are welcome to stay behind to meet the artists after the performance

6 Page 12 Choreographer s Notes B C

7 Kurt van der Elst

A Word on the Themes and By Sidi Larbi Cherkaoui Page 14 Choreographer s Notes The Themes Rien de Rien, my first creation as a choreographer for Les Ballets C. de la B.

8 A Word on the Themes and By Sidi Larbi Cherkaoui Page 14 Choreographer s Notes The Themes Rien de Rien, my first creation as a choreographer for Les Ballets C. de la B., was performed by six very different danceractors and the cellist Roel Dieltiens in a setting evocative of a mosque. Based on the dancers personal cultural encounters and a modern and contemporary repertoire for solo cello, this piece was in every sense a clash of cultures. The themes that appeared included equality and hierarchy between people, as well as the importance of language as a weapon, and its limitations. Ballroom dancing alongside contemporary musical analysis, a pop song juxtaposed with modern music, a 16-year-old girl next to a 60-year-old woman. It all revolves around a quest for equality, an attempt to avoid hierarchy. Avoiding hierarchy in style, music, dance, song, motion and text also remains one of Foi s ambitions. The dogma of performing music live on stage (where otherwise there is singing, recitation of text or silence) and of creating a performance in a spirit of co-operation, is carried further. This time the new themes are the obsession with survival and the passing down of music by means of scorings or through oral tradition as well as our ideas and beliefs. Also there is a focus on our own bodies particularly our self-protection, the hope for a long life and our sexual contacts. Kurt van der Elst In Foi, the dancer/actors are of Swedish, Korean, American, Flemish and other origins. Each with their own cultural and educational backgrounds they face the same wall, although they each have their personal view on what s behind the wall. The beliefs of every individual are compared in the most unsophisticated manner to those of others, and conclusions are called into question. Questioning has almost become a kind of belief and seeing is believing may well

9 Dance become believing is seeing in this context. The Dance As far as movement is concerned, I believe we should move in the following directions: Natural body language: just as in Rien de Rien, the choreography started from the most ordinary and natural body language. Dance phrases were composed on the basis of normal gestures and movements, which everyone uses while he or she is talking. Page 15 Choreographer s Notes Calligraphy: flowing lines and constant movement of the whole body, with a special language for the arms and postures of the head, to support or underline the movement. This applies to both the ground material and to the entire space. Exploring the limits of instinct: in dance this is reflected in certain movements that could put dancers in danger. Dancers have to rely on their ability to react quickly, or on the resistance and strength of their own bodies. After my collaboration with Nienke Reehorst and Wim Vandekeybus, and on the basis of my own experiences in Iets op Kurt van der Elst Bach and Rien de Rien, these are elements I would like to explore further in Foi. Obviously, all the above elements are realised in collaboration with the dancers. Their contributions probably constitute the most important material and I try to give specific directions to their suggestions and then allow all the different elements to amalgamate.

10 Ars Nova Ars Antiqua Page 17 Feature 1400 Ars Subtilior Kurt van der Elst

Page 18 Feature Ars Nova and Trecento music in Europe during the 14th century By Dirk Snellings Kurt van der Elst The Middle Ages are often referred to as the Dark Ages of Western civilisation,

11 Page 18 Feature Ars Nova and Trecento music in Europe during the 14th century By Dirk Snellings Kurt van der Elst The Middle Ages are often referred to as the Dark Ages of Western civilisation, because they lie between the Roman era and the resurrection of the Renaissance. It may be an appropriate term to describe the period of decline and desperation, during which Europe was trying to liberate itself from Roman rule. However, as soon as the balance of power was restored and the feudal system established, the nobility succeeded in centralising power and living a life of exceptional luxury and sophistication. This period is now referred to as the Gothic Age. Originating in France, this new art of living (Ars Nova), which unlocked the static and rigid structures from the past (Ars Antiqua), spread rapidly throughout Europe. This French model was eagerly adopted in Italy by the nobility and the wealthy merchants during the 14th century, but it also remained embedded in the local musical tradition (Trecento). Just as the walls were dismantled in Gothic cathedrals, music was also exploring the autonomy of each musical line for the first

time. In the polyphonic (many-voiced) exploration of 14th century composers, the perception of time was raised to an unprecedented level of sophistication and complexity.

12 time. In the polyphonic (many-voiced) exploration of 14th century composers, the perception of time was raised to an unprecedented level of sophistication and complexity. While music voices in Ars Antiqua were purely synchronic (homophonic), each voice in Ars Nova was given an individual quality within a strict pattern. The isorhythmic (state) motets are the most typical manifestations of this musical tradition. The subtle use of time intervals for each vocal part results in a sublime rhythmic complexity, which has remained unparalleled in Western European music to this date. In Italy, Trecento composers mainly focused on exuberant virtuosity and on finding new polyphonic harmonies. The fusion of both schools, around 1400, resulted in an extremely refined tonal language (Ars Subtilior), which was cultivated and refined at some European courts. Flanders did not remain indifferent to musical reforms either. In Ghent, one of the most influential cities of that era, many works were composed which gave this new European musical trend a distinctive local character. In the production of Foi, all the dimensions of 14th century music get their rightful place: the learned or notated music in masses, motets, courtly songs and dances, as well as the simple un-notated music which has continued to exist in the oral tradition until today. The modern audience will not only be surprised at this rich musical diversity, but may also be emotionally and spiritually moved by it. Page 19 Feature Kurt van der Elst

13 B C 1984 Page 24 Company Profile 1986B C B C Kurt van der Elst

Kurt van der Elst In 1984 Alain Platel, a remedial educationalist by training but driven by an irrepressible urge to create theatre, started the production Stabat Mater in his own living room with a

14 Kurt van der Elst In 1984 Alain Platel, a remedial educationalist by training but driven by an irrepressible urge to create theatre, started the production Stabat Mater in his own living room with a few friends. To his amasement some programmers enjoyed his work and he was hooked. In 1986 the company of casual contributors christened itself Les Ballets Contemporains de la Belgique (The Belgian Contemporary Ballet), a slightly provocative reference to the silly communal situation and the then assiduously abjured aesthetics of academic ballet. Their work could effortlessly be added to the gallery of Belgian surrealism, which has regularly succeeded in confusing the distinction between high and low art for decades. Les Ballets C. de la B. pieces did not represent stories or follow the ingeniously conceived structures of dance. Fragmentation, breaking through rigid disciplines and an attention focused on the everyday nature of movements fitted well within the stage arts concept of the 1980s. However, the content often consisted of easily recognisable human situations which Les Ballets C. de la B. were, for once, not ridiculed or laboured. Occasionally this confused the critics. After years of a cult-following the company suddenly broke through onto the international radar with Bonjour Madame, and today it is perfectly possible to speak of a true Platel-hype. In the meantime, others within the company have taken on the challenge of creating their own work. Les Ballets C. de la B. is a collective of five choreographers, each with their own appeal and identity. This structure of a choreographer-company was unique in Flanders for a long time. However companies such as Rosas, Ultima Vez and Troubleyn have also started to produce works from members of the company other than the head choreographer. Alain Platel recently handed over the the task of artistic head to Christine De Smedt. Sidi Larbi Cherkaoui joined Les Ballets C. de la B. after Iets op Bach while Hans Van den Broeck left to work independently. Another dancer-choreographer of the company is Koen Augustijnen. Based on a text written by Steven De Belder Page 25 Company Profile

Biographies Damien Jalet 1995 2000 B C 2001 OOK 2002 2002 7 2002Vif du Sujet 2002 9 Sidi Larbi Cherkaoui Director and Choreographer After having danced in variety and television shows in Belgium,

15 Biographies Damien Jalet B C 2001 OOK Vif du Sujet Sidi Larbi Cherkaoui Director and Choreographer After having danced in variety and television shows in Belgium, Sidi Larbi Cherkaoui studied at PARTS in Brussels, the contemporary dance school directed by Anne Teresa de Keersmaeker. In 1995, he received the first prize for the Best Belgian Dance Solo in Ghent, in a competition launched by Alain Platel. Following this success he was invited to take part in Iets op Bach. Rien de Rien (2000), his first piece of choreography as a member of the artistic core of Les Ballets C. de la B., won the Special Prize in Belgrade at the BITEF Festival in For Rien de Rien he worked closely with the Flemish cello player, Roel Dieltiens, who also shared the stage with the dancers, and singer/dancer, Damien Jalet, who introduced Cherkaoui to the use of traditional Italian songs. Together with Nienke Reehorst, Cherkaoui then spent a year working in a workshop with mentally disabled actors, which resulted in the show, OOK (2002) for the theatre company, Theater Stap. In July 2002, he took part in the Vif du Sujet at the Avignon Festival with his solo piece it (2002), directed by Wim Vandekeybus. In September 2002, he co-created d avant in collaboration with Damien Jalet, Juan Kruz Diaz de Garaio Esnaola and Lue Dunberry at Schaubüehne am Lehninerplatz, Berlin. Page 27 Biographies

16 Joanna Dudley Performer Joanna Dudley studied contemporary and early music in Australia and Amsterdam, and the traditional Japanese flutes in Tokyo. Dudley is a performer, musician and singer, and has worked at Berlin s Schaubühne am Lehniner Platz on numerous projects including her solo show He Taught Me to Yodel. Dudley and Juan Kruz Diaz de Garaio Esnaola created and performed a music theatre piece for toy instruments entitled My Dearest My Fairest. She has also worked with Sasha Waltz as a performer/composer on works including a commissioned project for the 2000 Avignon Festival and for the 2002 Edinburgh Festival she premiered a new work by Jon Fosse The Girl On The Sofa, directed by Thomas Ostermeyer. Dudley has created a screaming choir with the actors of the Schaubuhne. Other music theatre works created by Joanna Dudley and her Australian based company, Maximum Legroom, include A Standard Dwelling, If In Doubt Do Not use your Knife, My Little Garden and Acceptable Behaviour. Page 29 Biographies

17 Damien Jalet Performer Page 30 Biographies B C Following a two-year theatre course at the INSAS (Brussels), Damien Jalet trained intensively in different dance techniques such as release, ballet and yoga in Belgium and New York. He has worked with Wim Vandekeybus and Ted Stoffer and joined Les Ballets C. de la B., working with Christine De Smedt and subsequently with Sidi Larbi Cherkaoui. Jalet started to work with Sidi Larbi Cherkaoui in Rien de Rien and in September 2002 he codirected d avant with Cherkoui, Luc Dunberry and Juan Kruz Diaz de Garaio Esnaola for the Schaubühne Am Lehniner Platz in Berlin. Jalet has also studied Italian ethnomusicology with Giovanna Marini and Christine Leboutte Nam Jin Kim Performer Before pursuing his career as a dancer, Nam Jin Kim worked in the theatre with the Nam Jeungho company. During this period, he received several major prizes at international competitions and following the receipt of a grant he moved to New York. In 2002 his choreographic work also won first prize at an international competition in Paris. He has worked for Centre Chóregraphique National de Rennes et de Bretagne and was invited to Korea with his solo performance.

18 Christine Leboutte Performer ( Partiellement effacé ) Christine Leboutte is a performer, singer, producer and composer. She obtained her diploma in Theatre and Cultural Entertainment at the Institut National Superieur des Arts de Spectacle in She has taken courses in solfège, harmony and classical singing with Paule Daloze. She regularly gives courses on Italian songs passed down by oral tradition and since 1992 she has worked with Giovanna Marini. Leboutte has already collaborated with Sidi Larbi Cherkaoui and Damien Jalet, teaching performers Italian songs in the oral tradition for Rien de Rien and d avant. Alexandra Gilbert Performer Alexandra Gilbert studied ballet at the Conservatoire de Paris and graduated from the Centre National de Danse Contemporaine d Angers - l Esquisse in She has worked on different projects and performances with Marion Lévy, Charles Cré-Ange, Christie Lehuédé, Joëlle Bouvier/Régis Obadia, Cyrill Davy, Christophe Haleb, Lionel Hoche and Xavier Lot. Since 1999, she has been involved in the projects of Serge Ricci including Partiellement effacé, Humor and Endless, a trilogy in collaboration with the musician Christian Fennesz. She has also created costumes for dance and theatre productions. Page 31 Biographies Laura Neyskens Performer At the age of 10, Laura Neyskens played her first stage part in Bernadetje, by Arne Sierens and Alain Platel. She liked it so much she also took part in Alain Platel s Iets op Bach. On tour she worked with Sidi Larbi Cherkaoui and he asked her to take part in Rien de Rien.

19 Erna Ómarsdóttir Performer Erna Ómarsdóttir was born in Reykjavik, Iceland in In 1996 she formed her own dance theatre company, Ekka, while still a student at PARTS from where she graduated in Page 32 Biographies Move-e IBM TRASH In collaboration with Riina Saastamoinen, Ómarsdóttir created Walkabout Stalk, a culturalcapital production for Brussel-Reykiavik- Helsinki With Frank Pay she made Move-e, an experimental dance video and IBM1401, a duet between dance and music she created with Johann Johannsson. Erna has also worked with several directors including Thomas Plischke, Wormmle and Jan Fabre. Ulrika Kinn Svensson Performer Ulrika Kinn Svensson studied in Sweden at the Artgymnasium with dance as her major subject and from there moved to Holland to continue her dance studies at the Fontys Dance Academy. Between 2000 and 2002 she worked as a dancer and performer with the TRASH Dance/Theatre company in Holland. Nicolas Vladyslav Performer As a child Nicolas Vladyslav went to the circus school in Amiens and the dance school in Nouméa. Subsequently, he studied at the Conservatoire National Supérieur de Danse in Lyon. Vladyslav has worked with several artists such as Denis Plassard, for the creation of Ondes de Choc and Michele-Anne De Mey for Utopie.

20 OOK Marc Wagemans Performer Marc Wagemans has Down s Syndrome. Since 1992 he has performed in 15 Theater Stap productions. Theater Stap is a theatre workshop in Turnhout where mentally disabled actors work with nondisabled dramatists to create performances that are put on in the normal theatre circuit. In 1997 Wagemans performed in Wings with Red Socks, directed by Ann Verbelen, which was his first dance-theatre piece. In 2002 he danced with nine other actors from Theater Stap in OOK, directed by Sidi Larbi Cherkaoui and Nienke Reehorst. Page 33 Biographies 1988 Darryl E Woods Performer Darryl E Woods began his dance training with the Alabama Ballet and later moved to New York City where he studied at the Alvin Ailey Steps 74th and performed at the Dance Theatre of Harlem. In 1988 Woods went to Europe in the musical Duke Ellington s Sophisticated Ladies. He performed in Alain Platel s Iets op Bach and currently lives in Belgium teaching at local dance schools in Bruges.

Dirk Snellings Music Director and Bass Page 34 Biographies Dirk Snellings studied musicology at the University of Louvain and the art of singing in the class of Lucienne Van Deyck at the Conservatory

21 Dirk Snellings Music Director and Bass Page 34 Biographies Dirk Snellings studied musicology at the University of Louvain and the art of singing in the class of Lucienne Van Deyck at the Conservatory of Antwerp. As a teenager he already showed an interest in the old music and he soon became known as a specialist in the Renaissance and Baroque repertoires. As a singer he has collaborated on numerous projects under the leadership of famous conductors. As a music scientist he has made programmes for Belgium s classical radio and written articles for Musica Antiqua. He was also one of the founders of Musica, the Flemish centre of Old Music. Kurt van der Elst Capilla Flamenca: Top (from left) Lieven Termont, Jan Van Outryve, Jan Caals, Liam Fennelly Bottom (from left) Dirk Snellings, Jowan Merckx, Marnix De Cat

22 1517 Capilla Flamenca Capilla Flamenca borrows its name from the Emperor Charles V s court chapel. When this prince left the Low Countries for good in 1517, he took along the country s best musicians under the name of Capilla Flamenca, who made the famous polyphony of the Low Countries resound in Spain. The present Capilla Flamenca recruits its specialised musicians mainly from Flanders in order to bring to life again the brilliant music of the Golden Age of the polyphonists in the Low Countries. Thanks to experience, musicological research and a high degree of creativity, this Flemish ensemble has developed its own typical sound and style. Its continuous return to the historical model leads to unique programmes performed for the first time in 400 of 500 years, which offer the modern listener music that was largely unknown. The core of the Capilla Flamenca consists of four male singers: countertenor Marnix De Cat, tenor Jan Caals, baritone Lieven Termont and bass Dirk Snellings. Depending on the programme they perform, this quartet enlarges with complementary singers, an alta cappella (wind instruments), a bassa cappella (string instruments) or an organ. Page 35 Orchestra Profile

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