Fase Anne Teresa De Keersmaeker 演出時間 2017年5月13日 星期六 7:30PM 演出單位 羅莎舞團 演出地點 國家戲劇院 指定住宿 主辦單位 演出全長約70分鐘 無中場休息 Approx. 70 minutes without intermission. 遲到觀眾無法入場 Latecomers will not be admitted. 主辦單位保有節目內容異動權 The program is subject to change
1 Fase Fase 1982 Fase Phase Fase Marianne Van Kerkhoven & Rudi Laermans Fase Fase 1982 Beursschouwburg 80 Fase Fase Thèâtre Varia 1966 1972 Piano Phase Come Out Violin Phase Clapping Music Steve Reich and Musicians 1981 Festival of the Early Years Fase Fase Fase Rondo Fase 1960 1980 Asch Fase 1983
2 Fase 1995 1957 1958 1961 1963 Semar Pegulingan Gambang 1966 1971 1988 1990 Nonesuch 1999 1994 1995 1999 Introduction Fase, Four Movements to the Music of Steve Reich, choreographer Anne Teresa De Keersmaeker s very first performance, premiered in 1982. Fase comprises three duets and one solo, choreographed to four repetitive compositions by the American minimalist Steve Reich. De Keersmaeker uses the structure of Reich s music to develop an independent movement idiom that doesn t merely illustrate the music but also adds a new dimension to it. Both the music and the dance start from the principle of phase shifting through tiny variations: movements that are initially perfectly synchronous gradually start slipping and sliding, resulting in an ingenious play of continuously changing forms and patterns. Fase, Four Movements to the Music of Steve Reich When she returned from New York, where she studied at the Tisch School of the Arts, De Keersmaeker created Fase, four movements on the music of Steve Reich, which opened in the Beursschouwburg in Brussels in 1982. This production exploded onto the scene and is still considered to have been the starting point of the contemporary dance movement that developed in Flanders during the eighties. Fase was danced by De Keersmaeker herself and Michèle Anne De Mey, another ex-student of the Mudra school. This performance was revived with these two original dancers at the Théâtre Varia in Brussels in 1992. The musical basis of the choreography consisted of four minimalist works by the American composer Steve Reich, all written between 1966 and 1972: Piano Phase, Come Out, Violin Phase and Clapping Music. De Keersmaeker had already choreographed the dance solo for Violin Phase while in New York. It was created in collaboration with the members of the Steve Reich and Musicians ensemble, and was performed for the first time in 1981, during the Festival of the Early Years in Purchase. Fase is a choreographic entity, and as such is more than simply the sum of its four parts. The choice of movements, the division of space, the lighting and other elements formed part of the deliberate construction of the complete dramaturgy that encompassed all four parts. This pursuit of choreographic unity is also visible in the well thought-out use of several basic motifs: in the dancing in Piano Phase the straight line is alternated with the circle (the dancers turn on their own axis); in Come Out the dancers also trace out circles, but are here confined to the chairs they are sitting on; in the solo Violin Phase, the whole stage is used and is cleft by circular and diagonal lines; in Clapping Music the straight line again dominates.
3 Fase Characteristic of these movements divided into four parts is their division into short sequences that are incessantly repeated and which gradually change by way of small shifts. One might say that in compiling her vocabulary of movement, De Keersmaeker initially expressed herself in short sentences. Simple phrases were, in the course of repetition, varied and recombined and thereby forged into longer units. In Fase, which is often called minimalist, the language is mainly abstract: there is no story, and the performers do not refer to any characters. In Fase, De Keersmaeker marked out a major direction for her later work, one which was closely concerned with the specific relationship between music and dance. Even though her language of movement was to evolve thoroughly over time, in creating a choreography De Keersmaeker was always to start from an in-depth analysis of the musical score. In this process the first condition was that the dance should never illustrate the music. It was rather that the choreography served to articulate certain basic principles of composition used in a way that was independent and autonomous. More particularly, De Keersmaeker aspires to an analogous relationship between dance and music. She usually finds the foundations for this in the structure of the music, which is then taken up in the choreography. This transposition may primarily involve the use of the space, the temporal sequence of movements, or the movements themselves. In Violin Phase, for instance, a circular structure is closely linked to the fact that this composition is based on the rondo (use of space). The percussive use of the piano in Piano Phase is reflected choreographically in short and angular gestures (movements). And at a more general level each of the four parts of Fase keeps to the principle of gradual phasing that is also characteristic of Steve Reich s minimalist music: movements which are originally carried out in perfect synchronisation, although apparently constantly repeated, are gradually shifted and offset (temporal composition). This type of structural analogy between dance and music has become the trade mark of De Keersmaeker s choreography. Especially in the productions whose titles even refer to the music used, the choreographic handwriting (a term De Keersmaeker often uses in interviews and conversations) enters into a literally structural dialogue with the musical score. Marianne Van Kerkhoven and Rudi Laermans 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. Steve Reich, Composer Born in New York and raised there and in California, Steve Reich graduated with honours in philosophy from Cornell University in 1957. For the next two years, he studied composition with Hall Overton, and from 1958 to 1961 studied at the Juilliard School of Music. Reich received his M.A. in Music from Mills College in 1963, where he worked with Luciano Berio and Darius Milhaud. Reich also studied drumming at the Institute for African Studies at the University of Ghana in Accra, Balinese Gamelan Semar Pegulingan and Gamelan Gambang at the American Society for Eastern Arts in Seattle and Berkeley and traditional forms of cantillation (chanting) of the Hebrew Scriptures in New York and Jerusalem. In 1966 Reich founded his own ensemble of three musicians, which rapidly grew. Since 1971, Steve Reich and Musicians have frequently toured the world and have performed to soldout houses at venues from Carnegie Hall to the Bottom Line Cabaret. Reich s 1988 piece, Different Trains, marked a new compositional method in which speech recordings generate the musical material for instruments. In 1990, he received a Grammy Award for Best Contemporary Composition for Different Trains, recorded by the Kronos Quartet on the Nonesuch label. He won a second Grammy in 1999 for Music for 18 Musicians. Over the years, Reich has received commissions from the most important international institutions. His music has been performed by major orchestras and ensembles around the world and several choreographers have created dances to Reich s music. In 1994 Reich was elected to the American Academy of Arts and Letters, to the Bavarian Academy of Fine Arts in 1995, and in 1999, awarded Commandeur de l ordre des Arts et Lettres.
4 羅莎舞團 Fase 演職員名單 CREDITS 羅莎舞團 Anne Teresa De Keersmaeker / Rosas Fase, Four Movements to the Music of Steve Reich 編舞 Choreography Anne Teresa De Keersmaeker 演出 Danced by Anne Teresa De Keersmaeker, Tale Dolven 共同創作 Created with Michèle Anne De Mey (Piano Phase, Clapping Music), Jennifer Everhard (Come Out) 音樂 Music Steve Reich - Piano Phase (1967) - Come Out (1966) - Violin Phase (1967) - Clapping Music (1972) 燈光設計 Light design Remon Fromont (Piano Phase & Clapping Music) 服裝 Costumes Martine André & Anne Teresa De Keersmaeker Mark Schwentner (Violin Phase & Come Out) 藝術統籌 Artistic coordination and planning Anne Van Aerschot 技術統籌 Technical management Joris Erven 技術人員 Technicians Philippe Fortaine, Michael Smets 世界首演 World premiere 1982/3/18 Beursschouwburg (Brussels) 1982年 Fase 首演製作單位 Production 1982: Schaamte vzw (Brussels), Avila vzw (Brussels) 早期作品 共同製作單位 Co-production Early Works: Sadler's Wells (London), Les Théâtres de la Ville de Luxembourg 羅莎舞團由法蘭德斯社群支持 Rosas is supported by the Flemish Community Steve Reich "Piano Phase" by arrangement with Universal Edition AG, Vienna 留白部位提供觀眾 打洞收藏之用 歡迎掃描 QR Code 線上填寫 觀眾意見調查表 紙本問卷請繳回服務台 或傳真至 02-3393-9730 國際巡演贊助 京泰實業 集團 有限公司 感謝您費心填寫 現場繳回紙本問卷或出示電子問卷 將可兌換 TIFA紀念手機 擦 乙份 數量有限 送完為止
5 羅莎舞團 Fase