![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Achterland
Aug. 15th, 2012 08:25 pmНаконец в тюбике выложили длиннющую хореографию Анны Кеерсмакер (мощно звучащая для славянского уха фамилия) на музыку Лигети
помнится, я год-два назад дико угорел по этому видео
многое с тех пор изменилось, а лигети остался как был.
The 32-year-old Belgian choreographer Anne Teresa de Keersmaeker is one of the few today who make audiences see dance in a new way. She opens doors, even batters some down; in short, she is a major artist. Her 1990 work "Achterland" ("Hinterland"), which had its New York premiere on Friday night at the Brooklyn Academy of Music, stretches the very definition of dance. The viewer encounters something unfamiliar in terms of movement and the context in which it is placed, especially in relation to music, and yet recognizes profoundly that the whole has some relationship to life as it is lived.
"Achterland" would seem to be mainly about daring and risky dynamics. And yet its five women in business suits who rebound from the floor as soon as they fling themselves to the ground also reveal more vulnerable, even tender aspects of themselves through minute, isolated movements. Three men weave in and out of the piece -- intruders who fly about with extraordinary lightness until they are affectionately proved irrelevant. Nonetheless, men are the implicit reference point in "Achterland." Even the calculated self-awareness of the women is directed at an invisible "other," and the spare, all-female universe of Miss de Keersmaeker's earlier works yields here to the surprising warmth and humor with which "Achterland" culminates.
(src)
помнится, я год-два назад дико угорел по этому видео
многое с тех пор изменилось, а лигети остался как был.
The 32-year-old Belgian choreographer Anne Teresa de Keersmaeker is one of the few today who make audiences see dance in a new way. She opens doors, even batters some down; in short, she is a major artist. Her 1990 work "Achterland" ("Hinterland"), which had its New York premiere on Friday night at the Brooklyn Academy of Music, stretches the very definition of dance. The viewer encounters something unfamiliar in terms of movement and the context in which it is placed, especially in relation to music, and yet recognizes profoundly that the whole has some relationship to life as it is lived.
"Achterland" would seem to be mainly about daring and risky dynamics. And yet its five women in business suits who rebound from the floor as soon as they fling themselves to the ground also reveal more vulnerable, even tender aspects of themselves through minute, isolated movements. Three men weave in and out of the piece -- intruders who fly about with extraordinary lightness until they are affectionately proved irrelevant. Nonetheless, men are the implicit reference point in "Achterland." Even the calculated self-awareness of the women is directed at an invisible "other," and the spare, all-female universe of Miss de Keersmaeker's earlier works yields here to the surprising warmth and humor with which "Achterland" culminates.
(src)
