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18:00- PROGRAMME 1

A Twelve Ton Rose- A Suite of Excerpts adapted for the Dancers of P.A.R.T.S.

Choreography: Trisha Brown
Re-staging: Kathleen Fisher
Music: Anton Webern - Opus 5, movements 4 and 5 for String Quartet, Opus 7 for Piano and Violin, Opus 28 for String Quartet
Dancers: Cassandre Cantillon, Aminata Diallo, Synne Elve Enoksen, Carolina Ferreira, Tessa Hall, Georges Labbat, Eimi Leggett, Audrey Mérilus, Jean-Baptiste Portier, Mooni Van Tichel, Mamadou Wague

Twelve Ton Rose
(1996) is the second work in Brown’s music cycle, which she initiated in preparation for directing operas. The title is a whimsical play on twelve tone rows, a compositional device developed by Arnold Schoenberg and used extensively by Webern. A series of lush ensemble pieces, duets, and solos, the choreography has a deliberate yet poetic relation to the musical structures. Brown and her company, like Webern, exhibited a profound interest in redefining contrapuntal expressions. Brown noted how the music dissolved in and out and used that as inspiration in her choreography, at times filling the silences and animating stillnesses. With no single set of easily recognisable movement phrases being continually referred to throughout the work, as was often the case in Brown’s prior works, the choreography reflects Webern’s tendency away from a tonal theme and towards abstraction and lyrics.

Also see A Twelve Ton Rose on Monday 8th.

PERSONAL WORK (from outside the curriculum)
It’s so hard.
Performed and choreographed by: Luis Miguel Ramirez Muñoz

It's a solo about doing a solo from the things that come when I'm alone. Body puzzles and thoughts in/from/as movement.

PERSONAL WORK (from outside the curriculum)
Bacterial Transmission

Choreography: Joshua Serafin
Performers: Calvin Carrier, Gustavo Gláuber, Jean-Baptiste Portier, Lee Hyeon Seok, Margarida Marques Ramalhete, Maureen Bator, Rafael Galdino, Rita Alves
Costume design: Alban Ovanessian

Searching nature’s way of communication. Finding the similarities and juxtaposing movement of nature’s mycelium network with neural activity in the brain. Treating this as an entry point for choreographic organisation of the body in time and space. Relating to the human activity and metaphysical out of body experience of an individuals journey in club culture.


PERSONAL WORK (from outside the curriculum)
Dear Deer

Performed and choreographed by: Eimi Leggett, Mariana Miranda, Wai Lok Chan

Unreachable distance from the heart even if I stand in front of you- can you hear me? Can you touch me? Protrusion from the heart as self-defence; thistles and thorns as weapons; come closer, get hurt, collapse, until we reach.

Talk! Public
(not really a public talk) #1

Conversations between generations

As a generation who is about to enter the professional field, we are bringing together past students who were in this same position a few years ago. For some of us this might be a first encounter with them, and this meeting might bring up discussions about our concerns relating to the past, present and future.

20:45- PROGRAMME 2

PERSONAL WORK (from outside the curriculum)
Reflection on Near Future

Performed and choreographed by: Huang Mei-Ning

One body tracing imaginary pathways of thoughts in one’s brain. By opening the conversation within oneself, you are invited to take a glimpse of reflection in our near future.

PERSONAL WORK (from outside the curriculum)
Performed and choreographed by: Margarida Marques Ramalhete

What if we doubtlessly take into account that movement can change the space and the energy of a room? If so, we can believe that movement leaves traces of what was once danced, like some kind of hologram. What are these traces? How can a dance survive with no movement present?

In No(w)here, Margarida Ramalhete will share her working process around a fictional holographic world, where movement is alive.

PERSONAL WORK (from outside the curriculum)
And again, in things
Author: Lydia McGlinchey

This work is an amalgamation of different materials and thoughts placed next to one another. Insisting on ambiguity and exposing itself in a field-like action.