danceXmusic
Choreography Thomas Hauert, John Jasperse & Salva Sanchis
Salvattore Sciarrino: Le ragioni delle conchiglie
Claude Debussy: Danse sacrée
Claude Debussy: Danse profane / Thomas
Hauert György Ligeti: Ten Pieces for Wind Quintet / Salva Sanchis
John Cage: Four (String Quartet) / John Jasperse
and other works…
As part of Ars Musica, La Monnaie and P.A.R.T.S., one of the most demanding and prestigious dance schools in the world, are presenting an unprecedented collaboration between young student dancers, guest choreographers (Thomas Hauert, John Jasperse, and Salva Sanchis), and the musicians of La Monnaie Symphony Orchestra. Over four evenings, performances will take place of new choreographies on modern and contemporary works by Debussy, Cage, Ligeti, Sciarrino, and many more. This will be a chance for audiences to discover the dancers of tomorrow, as well as musicians displaying their talents as they play a chamber music repertoire they rarely have the opportunity to explore.
What does it mean to you to work on John Cage’s Four (String Quartet), with dancers that you didn’t know, and in a new context?
John Jasperse In the late 1980s, I danced in Ottone, Ottone by Rosas. Since then, I have only been back to Belgium once, in the early nineties, for the Klapstuk festival in Leuven. When P.A.R.T.S. invited me to do this project, I realised that I had not seen Brussels for
twenty years! In 1987, when I arrived at Rosas, the Mudra school had just closed, and P.A.R.T.S. didn’t yet exist. So a lot of things have changed since then. I am delighted to have been able to work with extremely talented, receptive, and curious dancers. To tell the truth, when we came into the studio for the first time, they didn’t know much more about me than I did about them. I usually work with a small group of dancers that I know very well - although I have already devised
several choreographies with people that I didn’t know. Of course, it takes a bit of time to get to know each other and for a relationship of trust to build up as we acquire experience. From that viewpoint, six weeks isn’t very long for a new piece! Whether it is a coincidence or not, the theme of my choreography deals with the same phenomenon: the title, No Way of Knowing, is self-explanatory. I am very satisfied with this time spent together. I hope that we have all learnt something about how to cope with being in uncharted territory and that we have something to share with the audience.
Brussels
Co-prod. La Monnaie / De Munt, P.A.R.T.S., Ars Musica
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