category: Architecture and Film (The Bartlett University syllabus) (click HERE for syllabus)
film index: 26
film: Rosas Dundt Rosas (with Rosas Fase)
director: Anne Teresa De Keersmaeker and Thierry De Mey
writers:
production: Belgium/Germany/France/Netherlands
release: 1997
playtime: 57 mins
visual: BnW
Language:
Subtitles:
Genre: dance choreography
Cast: Rosas Dance Company
size:
reference: avaxhome.ws, www.vo2ov.com, www.palgrave.com, www.vidgrab.com
Description and download:
In the early Eighties, when the artistic climate allowed dance to gain ever greater prominence, 20-year-old Anne Teresa De Keersmaeker presented her very first piece, Asch. A former pupil of MUDRA, the school founded by Maurice Béjart, she was to give an entirely new orientation to dance in Flanders. In 1981, she went to study at the New York Tisch School of the Arts, where she had first-hand contact with American post-modern dance.
That influence was obvious in her second work, Fase, four movements to the music of Steve Reich, from 1982, which was extremely well received. In 1983, as a logical result, De Keersmaeker founded her own dance company, Rosas, which presented Rosas danst Rosas. Once again, the music - by Thierry De Mey and Peter Vermeersch, composed in conjunction with the creation of the choreography - was the driving force behind the dance. That special relationship between dance and music was to become a constant in Anne Teresa De Keersmaeker's work.
It was 25 years ago that Anne Teresa De Keersmaeker, who was still very young then, created Rosas danst Rosas. It became a classic and has been learned over and over by new groups of dancers. Rosas danst Rosas (1983), Anne Teresa De Keersmaeker's third choreography was the basis for the Rosas ensemble. It showed for the first time an integration of the emotional-theatrical elements from the repetitive-mathematical structures of "Asch" and "Fase", her other choreographies. Moreover, music and choreography were literally written together during the creative process, which led to a unique concurrence of musical and choreographic energy. Rosas danst Rosas remains in our minds as a performance in which the transparency of the means used was connected to sometimes conflicting feelings such as fear and aggression, vulnerability and harshness, anxiety and alertness.
screenshots:
sneak peak:
Rosas FASE:
FASE (film version) – Choreography: Anne Teresa De Keersmaeker – Steve Reich – 2002
Choreography: Anne Teresa De Keersmaeker
Music: Steve Reich - 2002
AVI | MP3
2 ch 44.100 kHz, ~192 kbps |
624x352 (16:9) |
29,97 fps |
Divx ~ 1000 kbps avg. |
487 MB |
Length: 57minutes
description:
For the twentieth anniversary of Rosas in 2002, Anne Teresa De Keersmaeker asked filmmaker Thierry De Mey to make a cinematic version of Fase. Earlier on, De Mey also filmed other choreograpic works of De Keersmaeker such as Rosas danst Rosas (1997) and Tippeke (1996). De Mey selected a suitable location in Belgium for each of the four movements comprising Fase: 'Clapping' was shot in the Felix Pakhuis, an impressive factory setting in Antwerp, just prior to the renovation of the building. The filming of 'Come Out' took place on the top floor of Coca-Cola's new office building in Anderlecht. 'Violin Phase', a solo by Anne Teresa De Keersmaeker, was shot at the height of the summer in the woods of Tervuren. Lastly, 'Piano Phase' was filmed in the dance company's large rehearsal space in Brussels. Extraordinary camera angles, attention to positioning in space, poetic cinematography and the precision of the montage endow the filmed version of this minimalist and repetitious work with a surprising and unforgettable dynamic.
Book on Rosas:
The roles dance and space play in constructing subjectivity are explored here in close readings of American, British and European contemporary dances. Informed by ideas from contemporary critical theories, the book (now available in paperback) investigates site-specific dance, the mutual construction of bodies and spaces, body-space interfaces and 'in-between spaces'. Alternative subjectivities are suggested by reading the dances and dance films against the grain to reveal their potential for troubling conventional notions of subjectivity associated with a white, Western, heterosexual, able-bodied, male norm.
The works of choreographers such as Lea Anderson, Pina Bausch, Trisha Brown, Anne Teresa De Keersmaeker, William Forsythe, Shobana Jeyasingh and Mark Morris are explored alongside the theories of writers such as Mikhail Bakhtin, Gilles Deleuze, Michel Foucault, Donna Haraway, Julia Kristeva and Henri Lefebvre. The result is a fascinating mix of ideas and practice never before placed together within the context of dance studies.
'Dance, Space and Subjectivity is...a very welcome publication in that Valerie Briginshaw here has the scope to investigate her complex themes through ten chpaters on interconnected issues...An impressive variety of themes and issues is explored...Briginshaw's writing style is clear and will be accessible to students as well as researchers in a variety of disciplines...The book brings dance into the arena of so many current, fascinating debates that it offers a very useful point of reference and contribution to the field.' - Anna Pakes, Dance Theatre Journal
'...presents a fast introduction to a whole range of current theoretical approaches to space, subjectivity and the representation of bodies, and shows how these theories enable explorations of the construction of subjectivity...' - Maaike Bleeker, University of Amsterdam and School for New Dance Development, The Netherlands; Research in Dance Education
PART I: CONSTRUCTIONS OF SPACE AND SUBJECTIVITY
Travel Metaphors in Dance: Gendered Constructions of Travel, Spaces and Subjects
Transforming City Spaces and Subjects
Coastal Constructions in Lea Anderson's Out on the Windy Beach
PART II: DANCING IN THE 'IN-BETWEEN SPACES'
Desire Spatialized Differently in Dances that can be Read as Lesbian
Hybridity and Nomadic Subjectivity in Shobana Jeyasingh's Duets with Automobiles
Crossing the (Black) Atlantic: Spatial and Temporal Displacements in Meredith Monk's Ellis Island and Jonzi Di's Aeroplane Man
PART III: INSIDE/OUTSIDE BODIES AND SPACES
Fleshy Corporealities in Trisha Brown's If You Couldn't See Me, Lea Anderson's Joan and Yolande Snaith's Blind Faith
Carnivalesque Subversions in Liz Aggiss's Grotesque Dancer, Mark Morris's Dogtown and Emilyn Claid's Across Your Heart
Architectural Spaces in the Choreography of William Forsythe and De Keersmaeker's Rosas Danst Rosas
Download:
rosas danst rosas:
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rosas fase:
rapidshare links
link bundle: 1
http://rapidshare.com/files/293990845/Rosas_-_Reich_-_Fase_.part1.rar
http://rapidshare.com/files/293988810/Rosas_-_Reich_-_Fase_.part2.rar
http://rapidshare.com/files/293978574/Rosas_-_Reich_-_Fase_.part3.rar
Megaupload link
link bundle: 2
http://www.megaupload.com/?d=B5VQB849
http://www.megaupload.com/?d=G0NLXP4L
http://www.megaupload.com/?d=QGXUCDTM
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