Features
Press clippings October 2003: Interviews with A. T. De Keersmaeker, William Forsythe and Merce Cunningham
"We could do it to Eminem"
says a dancer of Merce Cunnigham's Company in the New York Times. Yes, they could, after all they just did it to Radiohead and Sigur Ros. Did what? Perform. Merce Cunningham had the two experimental rockbands write music for his new choreography "Split Sides" and play live (only) at the premiere on Oct. 14 in New York's BAM. In a long interview with the choreographer, along with some dancers and members of Radiohead and Sigur Ros in the NYTimes, Erika Kinetz found out about the different expectations, challenges and fears of the artists involved. Sigur Ros said they were doing "strange stuff with shoes", Mr. Cunnigham decided to have the order of the two 20-minutes-parts of "Split Sides", the costumes, the lights and the décor for the show decided by rolls of dice and Radiohead was hoping for a happy accident. A review on the outcome by Anna Kisselgoff also appeared in the New York Times.
Instead of dance versus rock music, Austria is playing dance versus film these days. In a collaboration between Vienna's big annual film festival Viennale and the Tanzquartier Austrian Choreographer Christine Gaigg is working on a project based on the parallels, contrasts, synchronicities and asynchronicities of two art forms, film and dance. She "places her previous choreographic work in direct tension with" the work of renowned Austrian filmmaker Peter Kubelka, who will accompany this program with a series of selected films and a lecture. Another equally known filmmaker from Austria, Martin Arnold, is working with several Viennese choreographers at the same time. As a result a few weeks ago the premiere of "Immer jagte er Blondinen" by Daniel Aschwanden took place and in November Willi Dorner's new piece "[...]" will come out. For "[...]" Arnold and Dorner are using porn footage in which they erased the actors, as the filmmaker told Helmut Ploebst in an interwiew with Der Standard.
Meanwhile in Great Britain: the Independent obviously
posed the wrong questions to Belgian choreographer Anne Teresa De Keersmaeker who is showing two pieces in London. "If you want to go on living, you don't step in front of a bus. And if you want to emerge from an encounter with Anne Teresa De Keersmaeker in one piece, you don't ask her if she's 'the next Pina Bausch'." The Telegraph on the other hand makes William Forsythe describe the activities of his future dance company "mischievously": "it will be like, let's say, playing golf in the woods rather than on the course". Two days later the Frankfurter Allgemeine www.faz.de critized the Frankfurt City authorities fore their failure to contribute their share to this new company which was planned to be funded in collaboration between two states in Germany. For dates of and information on performances of above mentioned artistsgo to the EventDataBase. To understand what a Kammer chameleon has to do with Mr. Forsythe's work, check the news on www.article19.co.uk.
says a dancer of Merce Cunnigham's Company in the New York Times. Yes, they could, after all they just did it to Radiohead and Sigur Ros. Did what? Perform. Merce Cunningham had the two experimental rockbands write music for his new choreography "Split Sides" and play live (only) at the premiere on Oct. 14 in New York's BAM. In a long interview with the choreographer, along with some dancers and members of Radiohead and Sigur Ros in the NYTimes, Erika Kinetz found out about the different expectations, challenges and fears of the artists involved. Sigur Ros said they were doing "strange stuff with shoes", Mr. Cunnigham decided to have the order of the two 20-minutes-parts of "Split Sides", the costumes, the lights and the décor for the show decided by rolls of dice and Radiohead was hoping for a happy accident. A review on the outcome by Anna Kisselgoff also appeared in the New York Times.
Instead of dance versus rock music, Austria is playing dance versus film these days. In a collaboration between Vienna's big annual film festival Viennale and the Tanzquartier Austrian Choreographer Christine Gaigg is working on a project based on the parallels, contrasts, synchronicities and asynchronicities of two art forms, film and dance. She "places her previous choreographic work in direct tension with" the work of renowned Austrian filmmaker Peter Kubelka, who will accompany this program with a series of selected films and a lecture. Another equally known filmmaker from Austria, Martin Arnold, is working with several Viennese choreographers at the same time. As a result a few weeks ago the premiere of "Immer jagte er Blondinen" by Daniel Aschwanden took place and in November Willi Dorner's new piece "[...]" will come out. For "[...]" Arnold and Dorner are using porn footage in which they erased the actors, as the filmmaker told Helmut Ploebst in an interwiew with Der Standard.
Meanwhile in Great Britain: the Independent obviously
posed the wrong questions to Belgian choreographer Anne Teresa De Keersmaeker who is showing two pieces in London. "If you want to go on living, you don't step in front of a bus. And if you want to emerge from an encounter with Anne Teresa De Keersmaeker in one piece, you don't ask her if she's 'the next Pina Bausch'." The Telegraph on the other hand makes William Forsythe describe the activities of his future dance company "mischievously": "it will be like, let's say, playing golf in the woods rather than on the course". Two days later the Frankfurter Allgemeine www.faz.de critized the Frankfurt City authorities fore their failure to contribute their share to this new company which was planned to be funded in collaboration between two states in Germany. For dates of and information on performances of above mentioned artistsgo to the EventDataBase. To understand what a Kammer chameleon has to do with Mr. Forsythe's work, check the news on www.article19.co.uk.