Anne Teresa De Keersmaeker

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Film version of the dance performance of the same name.

In En Atendant, Anne Teresa De Keersmaeker is taking a new step in her exploration of the combination of music and dance. After Bach and Webern in Zeitung, The Beatles in The Song and Mahler in 3Abschied, this time her starting point is the Ars Subtilior: a complex and intellectual form of polyphonic music from the 14th century that is based on dissonance and contrast. Ars Subtilior developed on the ruins of the plague and the Church at a time when the social, political and religious pillars of mediaeval society were fragmenting. Nowadays this upheaval seems more relevant than ever. In the light of today’s increasingly confusing events and the complexity of the choices we face, the question of our mortality and physicality is becoming ever more crucial.

Whirlwinds, burning forests, erased cities – the centuries-old artworks housed in the Louvre strongly resonate with our present time. Forêt follows a new generation of Rosas dancers moving amidst these artworks, bridging past and present. Choreographed by Anne Teresa De Keersmaeker and Némo Flouret in 2022, the performance was designed for the Louvre’s Grande Galerie and its famed 'red rooms,' home to Italian masterpieces and 19th-century French Romantic art. Evi Cats captured this performance, with a camera that moves almost imperceptibly between the dancers and the audience, alternating between intimate close-ups and wide shots of the imposing scenery.

A short film based on the work of choreographer Anne Teresa de Keersmaeker.

Ottone, Ottone is a video adaptation of a stage production of the same name from 1988. The video was shot in the Théâtre Varia in Brussels.

A video essay about the rehearsal process of the dance performance Mozart / Concert Arias, un moto di gioia, a choreography by Anne Teresa De Keersmaeker and Rosas, which premiered at the Festival d’Avignon in July 1992.

In Violin Fase, Eric Pauwels twirls the camera around the body of dancer and choreographer Anne Teresa de Keersmaeker. Through this process, Pauwels creates a new relationship between camera and dancer, but also between body and dance, dance and cinema. Consisting of a geometrical and minimalist choreographic structure filmed in four uninterrupted takes, the artist’s camera captures a woman dedicated to exploring the boundaries of physical exhaustion.

A poetic portrait of the world-renowned Ballet de l'Opéra national de Paris as they mount a new work by famed contemporary choreographer Anne Teresa De Keersmaeker, Rain is a formalist exercise in documentary filmmaking that at times resembles long lost outtakes from The Red Shoes.

Ten shorts by Thierry De Mey set to music by ten composers with ten danced phrases choreographed by Anne Teresa De Keersmaeker and performed by Rosas. These ten films encapsulate the best of De Keersmaeker and De Mey's collaboration: twenty years of assiduously practicing variation, of perpetually inventing algorithms, filters, and formulae that twist movement and space according to the capricious mathematics of pleasure. All of this is filmed - O Belgitude! - in exquisite flower-filled gardens and under impressionistic drizzling rain.

In Hoppla!, two choreographies by Anne Teresa De Keersmaeker are brought together and performed to the music of the Hungarian composer Béla Bartók: Mikrokosmos, seven short works for two pianos, and Quatuor no. 4, Bartók’s fourth string quartet. The reading room of the Ghent University library, designed by the renowned architect Henry Van de Velde, serves as location.

As of 9 October 2020, Rosas will be restaging Drumming (1998). These will be the first performances of Drumming since the last tour, which ran between 2012 and 2016. This revival will be danced alternately by the company’s repertoire group and a new cast of young dancers.

Drumming (1998) is one of Anne Teresa De Keersmaeker’s most iconic choreographies, written to the eponymous, minimalistic percussion score by Steve Reich. The music starts with a single rhythmic motif, which subsequently multiplies and unfolds into a rich cornucopia of textures including drums, woodwinds, brass and voice. Reich here ramps up the technique already used in his earlier composition Piano Phase: through minor tempo accelerations the musicians almost imperceptibly push their unison out of joint, resulting in a never-ending volley of canons. In the dance, the choreographic complexity was devised in a similar fashion: a single movement phrase serves as the foundation for an infinite number of variations across time and space. When the music stops and the bodies come to a halt, the audience realizes what they have witnessed: a wave of pure dance and pure sound, a vortex of vital energy.

Tippeke began as an impulse by Anne Teresa De Keersmaeker and Thierry De Mey in 1996 to experiment with some leftover 16mm film. A nursery rhyme that De Keersmaeker used to recite to her son almost daily during the period formed the starting point, together with a movement sequence that she had recently worked out. The enthusiasm after the first film rushes ensured that the project gradually began to take more serious form. Tippeke was initially a part of the show Woud, three movements to the music of Schönberg, Berg & Wagner. The music was performed live in the show and some dancers from the company also danced synchronically in front of the screen. Tippeke was also released onto the market later as a short film.

Almost ten years after Zeitung, Anne Teresa De Keersmaeker and the musician Alain Franco started off with those same building blocks to create Zeitigung. Against the backdrop of a changing world, and channeled through the bodies of eight young dancers, Franco and De Keersmaeker offer an updated version of their own earlier work. As a part of their strategy they invited the young choreographer and dancer Louis Nam Le Van Ho to confront his own writing with De Keersmaeker’s choreography; his contribution builds a bridge to a new generation of creators and choreographers, providing a different perspective on De Keersmaeker’s and Franco’s ongoing examination of the essence of dance and composition. Franco joins Rosas’s dancers on stage, performing the piece live on the piano. In a broad historical gesture, the music of Johann Sebastian Bach, Johannes Brahms, Arnold Schönberg, and Anton Webern stretches across the geometric principles and improvised sections of the choreography.

Rain, set to Steve Reich's Music for 18 Musicians (1976), is one of Anne Teresa De Keersmaeker’s most characteristic performances. With this vibrant choreography, De Keersmaeker returned, in 2001, to two of her great loves: pure dance and the minimalistic music of Steve Reich. Accompanied by the pulsating tones of his music, for an hour and ten minutes ten dancers occupy the stage, delineated by a curtain of fine strings, displaying an impressive succession of virtuoso dance phrases. The mathematical figures, the sustained repetition, the geometric occupation of the space, the art of continuous variation – everything that had gradually become the choreographer’s signature was pushed to the extreme in Rain.

For Cesena Anne Teresa De Keersmaeker and Rosas worked closely with Björn Schmelzer and his graindelavoix ensemble. This new production might almost be called the counterpart to its predecessor, En Atendant. Whereas in that piece the twilight merged almost imperceptibly into night, this piece heralds the start of the day. The stage is shared by 19 dancers and singers who explore the limits of their ability. Dancers sing and singers dance, once again in dialogue with the wilful 14th-century scores of the Ars Subtilior. For the third time, Ann Veronica Janssens has collaborated with Rosas for a set design, providing a sculpture of passing time, of the constant transformation of what is around us and of what only becomes visible in the course of time. The start of a new day, or a new look at a distant past.

The Prélude à l’après-midi d’un faune, to Claude Debussy’s music, inspired by Stéphane Mallarmé’s text, is a sublime musical poem about the ephemeral, absence, and extinction

No description available.

A short documentary about the creation process of Rosas danst Rosas, the performance that forced Anne Teresa De Keersmaeker’s international breakthrough and has become a benchmark in the history of postmodern dance. This documentary, directed by Stefaan Decostere for the BRT cultural programme Het Gerucht [The Rumour, ed.], uses fragments of rehearsals and interviews with De Keersmaeker and composer Thierry De Mey, offering a glimpse of the choreographic creative process in which repeated abstract movements play a key role.