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src="/images/affiches/hf2000_03_klein.jpg" border="0" alt=""></a><table cellspacing="0" cellpadding="5" border="0"> <tr> <td class="kleinGr">               HF 2000<br>Reinbert de Leeuw</td> </tr> </table> </td> </tr> </table> </td> <td align="right" valign="top" width="80%"> <table border="0" cellspacing="0" cellpadding="0"> <tr> <td valign="top"> <table border="0" cellspacing="1" cellpadding="3"> <tr> <td width="6" bgcolor="#BFBFBF" align="right"><img src="/images/ori_pijltje_grijs.gif" width="6px" height="6px" alt="" border="0"></td> <td width="140" bgcolor="#BFBFBF"><a href="/holnd_fstvl?menuitem=home" onclick="" class="menuCrumbs">HOME</a></td> </tr> <tr> <td width="6" bgcolor="#BFBFBF" align="right"><img src="/images/ori_pijltje_grijs.gif" width="6px" height="6px" alt="" border="0"></td> <td width="140" bgcolor="#BFBFBF"><a href="/holnd_fstvl?menuitem=2003programma" onclick="" class="menuCrumbs">PROGRAMMA 2003</a></td> </tr> </table> </td> </tr> <tr> <td valign="top"> <table 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cellspacing="0" cellpadding="0" width="100%"> <tr> <td bgcolor="#FFFFFF" colspan="2" align="right"><img src="images/spacer.gif" width="1" height="1" alt="" border="0"></td> </tr> </table> </td> </tr> </table> </td> </tr> <tr> <td><img src="images/spacer.gif" width="435" height="3" border="0" alt=""></td> </tr> </table> <table border="0" cellspacing="0" cellpadding="0" width="100%"> <tr bgcolor="#FFFFFF"> <td> <table border="0" cellspacing="0" cellpadding="6"> <tr> <td><span class="titel" style="text-decoration:none;">REACTIES OPGUA</span><br><p> <p>Libration, 20 juni 2002<br /><br />Aprs Budapest, Hong Kong, Palerme et bien d'autres villes, la world Pina Bausch pris ses quartiers pendant trois mois au Brsil. Elle en est revenue avec une pice souriante, lgre. Agua se prsente comme un cocktail color, tonique et gentiment enivrant. Servi sur un plateau, avec parfois des htesses bauschiennes qui apportent des cafs aux spectateurs, le rve de vacances de la chorgraphe allemande n'a jamais t si bien expos. Dj, dans O Dido, fabriqu  Rome, elle flirtait avec les ragazzi en se prlassant dans des hamacs. Ici, elle met les bouches doubles,  toute allure. Agua est, autant au plan musical (morceau sur morceau) qu'au plan chorgraphique (solo sur solo), un dpliant allchant, mais un peu touristique.<br />Le dispositif scnique, un espace blanc et clos pour projections vido, permet<br />de crer le tournis par le dfilement des images. On tangue comme sur le pont d'un bateau, on s' bouriffe lorsque le vent affole les palmiers, on vibre sur la peau d'un tambour d'une bateria de carnaval. La chorgraphe envoie des cartes postales d'un pays o l'image et la reprsentation du corps sont des proccupations quotidiennes. Dans une scne trs drle bien qu'un peu facile les danseurs se transforment en faune de Copacabana grce  des draps de bain imprims de corps idaux. Pas besoin de chirurgie esthtique, un simple passe-<br />passe et le tour est jou. Le savoir-faire de Pina Bausch est incontestable et il y a ainsi mille petites astuces dans ce spectacle enfivr.<br />Pourtant, on a un peu de mal  prendre le rythme endiabl propos ds les premires minutes. Et la chorgraphe succombe, elle aussi,  la vitesse ambiante,  la course  l'image. Tout devient vite un peu fatigant, dmobilisant surtout. On cherche la motivation... et on trouve un catalogue d'autocitations. Evidemment, citer Pina est toujours un plaisir, mais quand c'est elle-mme qui le fait, on peut s'interroger: a-t-elle encore quelque chose de profond  dire? De plus, la construction mme du spectacle alourdit la chose. La fin de la pice<br />est ainsi un condens de morceaux choisis de la chorgraphie mme que l&#8217;on vient de voir. Les danseurs de la compagnie restent tous remarquables, mais on s'interroge sur la multiplicit des solos jusqu' l'overdose.<br />L'effet est accentu par l'arrive du danseur emblmatique de la compagnie, Dominique Mercy, dont on a connu d' ailleurs de meilleures prestations. Apparaissant en guest star, il est en quelque sorte le supersoliste d'une pice de solistes. Quant aux danses de groupe et autres danses de salon, elles semblent, dans Agua, avoir t crites pour une jungle arborescente et grouillante. Et l'on aime bien ces anges porteurs de lucioles, ces abandons<br />dans les sofas d'un bord de mer rougeoyant, ces brasses coules avec des enfants de tribus indiennes. Ce bruit, si agit.<br />Marie-Christine Vernay 								 - 								 <i>Pina Bausch, les pieds en ventail</i></p> <p>Cara Mara, t'invio alcune considerazioni su lo spettacolo "AGUA" e "KONTAKTHOF" di Pina che ho visto nel sito del Festival in OLANDA dove Pina andr a Giugno. ti saluto e ti abbraccio e a presto Francesco Carbone 								 - 								 <i>Mara</i></p> </p> </td> </tr> </table> </td> </tr> <tr bgcolor="#FFFFFF"> <td><table border="0" cellspacing="0" cellpadding="6" width="100%"> <tr> <td><table border="0" cellspacing="0" cellpadding="0" width="100%"> <tr> <td bgcolor="#737373" colspan="2"><img src="../images/spacer.gif" width="1" height="1" alt="" border="0"></td> </tr> <tr> <td><SPAN class="kleinGr">Er zijn2reacties</SPAN></td><td align="right"><a href="?menuitem=2003reacties&amp;id=1029405060764#new" class="kleinGr">Schrijf een reactie<img src="../images/pijltje_wit.gif" width="12" height="9" alt="" border="0" align="top"></a></td> </tr> <tr> <td bgcolor="#737373" colspan="2"><img src="../images/spacer.gif" width="1" height="1" alt="" border="0"></td> </tr> </table></td> </tr> </table></td> </tr> <tr> <td><img src="images/spacer.gif" width="435" height="3" border="0" alt=""></td> </tr> </table> <table border="0" cellspacing="0" cellpadding="0" width="100%"> <tr bgcolor="#FFFFFF"> <td> <table border="0" cellspacing="0" cellpadding="6"> <tr> <td><span class="titel" style="text-decoration:none;">REACTIES OPKONTAKTHOF</span><br><p> <p>Bausch's New, Older Version of 'Kontakthof'  <br /><br />ANTWERP - "In the beginning I had dancers who were busy with the way they looked and were afraid of losing something onstage," Pina Bausch told the New Vork Times in 1985. "Then I found dancers who had less to lose and they were not afraid to go somewhere further." The dancers in Kontakthof, seen last Friday at De Singel, go very, very far. They are damen and herren of Wuppertal, the company's home, all untrained performers between the ages of 65 and 75. This clever reconstruction of Kontakthof, a pivotal Bausch piece from 1978 based on courting rituals and male/female dynamics (the party dressed she to the dark suited he), retains its hormonal core. From micro-gestures to group groping sessions, the contrast between sexual frenzy and corseted propriety couldn't be clearer. This time however, the infinitely expressive cast is a bit<br />cider, grayer, and quite possibly wiser.<br />The 25 performers in this Kontakhof form a societal cross section of personalities. The nobleman, the geek, the bore, the buxom slattern, the school marm, the child (which is present regardless of age). Despite their unique personalities, these individuals adhere to a social order dictated by taffeta and patent leather shoes. The 12 men wear dark suits while the 13 women preen in pastel party dresses or don formal black numbers - read funeral attire - for more somber sections. Kontakthof, which translates as "contact yard" or "court yard of contact," begins with the characters walking forward one by one and presenting themselves as goods in some kind of bizarre human bazaar. Woman #1 stands with her back to the audience, turns front, smoothes her hair, smiles, turns profile, extends her hands forward, palms up, palms down, arms akimbo, and exits. Other characters come forward and repeat the same gestures, perhaps substituting a sneer for a smile. Rinse, lather, repeat and voila, a Spiegel catalog of human curios all in assorted shapes and sizes.<br />They are the human lab rats in a controlled environment (a sterile auditorium), subjects of an experiment otherwise known as Pina's World. We see the personal touchstones of Bausch's imagination, her fascination with the tone of a room, the daily ache of the soul. Her characters go through the motions of life in<br />a series of small gestures - a finger flick, a snarl, a quick shuffle to the right. A man pulls a toy mouse out of his pocket and chases a woman around the room with it. Jack chases Jill or Gunter chases Anke. The men, advancing like chess pieces in chairs, grope and molest the air as they anxiously approach the women on the other side of the room. A woman in green paces around eating a Granny Smith apple after shouting orgasmic "Yes!! Yes!!!"s into the mike. Meanwhile, another woman begs someone in the front row for a coin so she can ride the hobby horse in the corner. <br />One visual extravaganza follows another. The restless souls seem to be searching aimlessly for happiness but unaware of what steps to take to find it. They nonetheless approach their tasks with dogged intent, sometimes alone but mostly as a herd. They prance about in time to scratchy recordings of love songs, lusty tangos and bright carnival music. 'Mein schones', 'Blonde Clara', 'Spring and Sunshine' and 'Boogie Woogie'. A pink laced frau calls out for her Liebling or dear one, perhaps a man, perhaps a pet. "Liebling!!! Liebling!!!" First playfully, then ruefully, then shouting at the top of her lungs. When the others tire of her histrionic whining, they exit the room, some mocking her self-pity, some just plain bored. The hobby horse rider comes back to beg another person for a coin. Rinse, lather, repeat.<br />Along with this catalogue of characters and actions, we see immaculate attention to costume and lighting. The piece takes place over a series of days and nights, dusks and dawns marking the passage of time, highlighting the regularity of routine. Changes occur in cycles - when to wear stilettos, when to walk barefoot and when to walk barefoot as if you're still wearing stilettos. This shoe fetish has creeped, no pun intended, into the work of many of Bausch's acolytes. Just look at De Keersmaeker's "Achterland," "Just Before," and "Rosa" for proof. You could literally spend whole evenings tracking the use of footwear and apparel.<br />Bausch's immaculate attention to detail is actually what distinguishes her from her legions of followers, both the good ones and the Pina wannabes guilty of gratingly self-indulgent performance art. Val Bourne, curator of London's Dance Umbrella festival, says Bausch spawned lots of imitators in the mid 1980s "who thought all they had to do was walk on stage and improvise in a wild way" but "no one else has her rigor and powers of editing" (Guardian, 23 jan 1999). She carves each section with an exact-o knife. A monotonous procession cuts to wild scampering, and a lone soul remains. The result is carefully controlled chaos, deconstructed design with strings of leitmotifs running seamlessly through the work.<br />What makes this current version of Kontakthof so unique, however, is its stunning cast, all untrained performers from a small, gritty industrial town in northwest Germany. On the surface we see the signs of age: the wrinkles, the stoopy shoulders, the sagging breasts, white hair and male patterned baldness. But we also see rich lives, residue from 65+ years of living. For same reason, the maling rituals and sexual frenzy seem even more poignant when performed by folks past their prime breeding years. The desire never dies. The child within<br />never quite grows up. This elderly group of Wuppertalers may be one of the most interesting casts ever to grace Bausch's work and definitely deserves to be seen Stateside.<br />Arlene Groce once dismissed Bausch's choreography as the "pornography of pain," but perhaps a viewing of Kontakthof would change her mind. We see wizened, extraordinary yet ordinary people searching for La Dolce Vita. Does it really exist? Perhaps if you sashay in just the right way in time to the music, it doesn't even matter. 								 - 								 <i>THE DANCE INSIDER by Rosa Mei</i></p> </p> </td> </tr> </table> </td> </tr> <tr bgcolor="#FFFFFF"> <td><table border="0" cellspacing="0" cellpadding="6" width="100%"> <tr> <td><table border="0" cellspacing="0" cellpadding="0" width="100%"> <tr> <td bgcolor="#737373" colspan="2"><img src="../images/spacer.gif" width="1" height="1" alt="" border="0"></td> </tr> <tr> <td><SPAN class="kleinGr">Er is 1 reactie</SPAN></td><td align="right"><a href="?menuitem=2003reacties&amp;id=1038562280923#new" class="kleinGr">Schrijf een reactie<img src="../images/pijltje_wit.gif" width="12" height="9" alt="" border="0" align="top"></a></td> </tr> <tr> <td bgcolor="#737373" colspan="2"><img src="../images/spacer.gif" width="1" height="1" alt="" border="0"></td> </tr> </table></td> </tr> </table></td> </tr> <tr> <td><img src="images/spacer.gif" width="435" height="3" border="0" alt=""></td> </tr> </table> <table border="0" cellspacing="0" cellpadding="0" width="100%"> <tr bgcolor="#FFFFFF"> <td> <table border="0" cellspacing="0" cellpadding="6"> <tr> <td><span class="titel" style="text-decoration:none;">REACTIES OPLANDSCHAFT MIT ENTFERNTEN VERWANDTEN</span><br><p> <p>Wir lauschen einer gelehrten Renaissance gesellschaft beim Verfertigen musikalischer Gedanken und vernehmen proletarisch rumorenden Hanns-Eisler-Drive, wir betrachten tanzende Derwische, die sich zur Sufi-Musik drehen, und den gefhrlichen Tango einer Terroristengang. Der Schauspieler David Bennentzitiert als pathetische Sprachklangarien Texte van T.S. Eliot, Henri Michaux und Gertrude Stein, und als Tableaux vivants werden dazu Szenen und Bilder wie in einem groBen Katalog aufgeblttert. Alles fgt sich zu einer einnehmenden Collage hherer(Nicht)-Ordnung. Sympathisch, wie viel Welt der Komponist in sein Musiktheater heremklingen lsst. Wunderbar, wie konzentriert und locker zuggleich die Mitglieder des Ensemble Modern den Stilmix musikalisch tassen. 								 - 								 <i>(Die Zeit, 31.10.2002)</i></p> <p>Keine Sekunde lang missversteht der Dirigent Franck Ollu seine Musik als in sich ruhende Bildbeschreibungen. Er treibt die kompliziert gegeneinander gesetzten Pattern weiter, er verwirrt den Rhythmus zu einem dichten Gestrpp. Allen Computern und Lautsprechern zum Trotz bleibt Goebbels'Musik feinste Handarbeit. Gegen Ende gar des vielsprachiggesamteuropischen Stcks stolpern die Musiker als Cowboyband in die gute Stube. Sie spielen nicht B1uegrass, sie machen keine Stubenmusi, sie singen keine Chansons. Goebbels ist gefhlvoll und unsentimental zugleich. Und das ist seine grBte Meistershaft. 								 - 								 <i>(Financial Times Deutschland; 18.10.2002)</i></p> <p>Nun, im Rahmen dieser quasi vieraktigen Oper in progress, wurden die Musiker zum kollektiven Bhnen-Protagonisten, spielten, agierten, marschierten. kmpften, tanzten, trommelten, bliesen und sangen  und dies alles in den zum Teil abenteuerlichsten Verkleidungen und szenischen Konfigurationen. Schauspieler und Tnzer htten derlei multiple Performance kaum leisten knnen. 								 - 								 <i>(Frankfurter Allgemeine Zeitung,19.10.2002)</i></p> </p> </td> </tr> </table> </td> </tr> <tr bgcolor="#FFFFFF"> <td><table border="0" cellspacing="0" cellpadding="6" width="100%"> <tr> <td><table border="0" cellspacing="0" cellpadding="0" width="100%"> <tr> <td bgcolor="#737373" colspan="2"><img src="../images/spacer.gif" width="1" height="1" alt="" border="0"></td> </tr> <tr> <td><SPAN class="kleinGr">Er zijn3reacties</SPAN></td><td align="right"><a href="?menuitem=2003reacties&amp;id=1029495659697#new" class="kleinGr">Schrijf een reactie<img src="../images/pijltje_wit.gif" width="12" height="9" alt="" border="0" align="top"></a></td> </tr> <tr> <td bgcolor="#737373" colspan="2"><img src="../images/spacer.gif" width="1" height="1" alt="" border="0"></td> </tr> </table></td> </tr> </table></td> </tr> <tr> <td><img src="images/spacer.gif" width="435" height="3" border="0" alt=""></td> </tr> </table> <table border="0" cellspacing="0" cellpadding="0" width="100%"> <tr bgcolor="#FFFFFF"> <td> <table border="0" cellspacing="0" cellpadding="6"> <tr> <td><span class="titel" style="text-decoration:none;">REACTIES OPWINTERREISE</span><br><p> <p>Spare Look, Stark Poems and Sad Songs<br /><br />An experimental choreographer who recently turned to directing opera, Trisha Brown has had to work on a more intimate scale in 'Winterreise', her bold and largely persuasive staging of Schubert's despairing song cycle of the same name.<br />Yet the baritone Simon Keenlyside, more than admirably tormented in his emotional range, is no mere recitalist wandering through the 24 songs of a winter journey toward death. At its premiere on Monday night at John Jay College Theater under Lincoln Center auspices, this 'Winterreise' had all the trappings of a fully staged theatrical production with singer, pianist and three dancers on stage.<br />There were times when one could question wether Schubert's pre-expressionism suited a choreographer who prides herself on gesture with no narrative connotation. Nonetheless, there is a refreshing stripping away of cobwebs to ms. Brown's streamlined, uncluttered style. As usual, complex formal conceptions are masked by a deceptive simplicity. Dramatically, this clean, spare look had its advantages; it enhanced the stark quality of the human situation described in the poems by Wilhelm Mller that Schubert set to music.<br />Just as important, Jennifer Tipton's lighting worked on the same wavelength of abstraction as Ms. Brown's choreography. The happier times of the unrequited lover in the songs could be envisioned against a pale blue sky, and Ms. Tipton's hint of red clouds on a backdrop accompany Mr. Keenlyside's super high leap (his only jump of the evening) in the 18th song, 'The Stormy Morning'.<br />But ms. Tipton and Ms. Brown are not concerned with simple color coding, and aim, it seems, at distilling an essence, even a dimension that goes beyond words in a performance that is eventually largely dependent on words and music united.<br />When the protagonist comes to the end of the road in the last song, The Organ Grinder, Mr. Keenlyside is swallowed up in near blackness beside the pianist Pedja Muzijevic. The singers virtually disembodied voice confronts the lugubrious figure of the organ grinder. He is personified by Lionel Popkin, whose revolving body is elongated and distorted in a huge shadow after Ms. Tipton has wondrously projected an enlarging and blurry sun in the previous song The Mock Suns.<br />Here the hero faced three dancers as three suns that offered no hope until the projected sun, like a pneuma or spirit, offered some sort of metaphysical relief.<br />Ms. Browns  firm directional hand is always present, but Winterreise is a truly collaborative venture, integrating two other members of the Trisha Brown Dance Company, Brandi L. Norton and Seth Parker, as well as musicians. Elizabeth Cannon created the costumes, mixing a downtown and timeless Everyman look.<br />()<br />Ms. Browns formal underpinnings are close to Schuberts formal method here, in which a key word in each poem is matched with a musical seed from which the entire song develops. Ms. Browns program notes suggest that the equivalent of these seeds are basic movement cells or the union of arm gestures that run through the choreography as a motif.<br />Yet make no mistake about it. Mr. Keenlyside is the emotional center of the piece. And without his lyrical vulnerability and the dark registers of his anger as well as Mr. Muzijevics sensitive playing, this production would not be what it is.<br />What it is is a cold, formal landscape, and deliberately so. Drama becomes best to Ms. Brown when she is sparest. She triumphs again in The Inn as Mr. Keenlyside lies downstage in an invisible graveyard, hovering over the abyss: the orchestra pit.<br />Imagination of a lighter sort works too. When the hero recalls the sweetheart who rejected him in a carapace of a dress, a frame of a hoop skirt. In The Post, Mr. Parker is reined in by the other dancers: the Pony Express has arrived with no letter for the hero. In Will-O-the-Wisp the dancers in the dark flit into segments of light, elusive shards. 								 - 								 <i>New York Times, December 4, 2002. 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