Anne Teresa De Keersmaeker & Bojana CvejicCarnets d'une Chorégraphe. Fase, Rosas danst Rosas, Elena's Aria, Bartók

The Belgian choreographer Anne Teresa De Keersmaeker talks here with the performance theorist and musicologist Bojana Cvejic, in order to detail the choreographic principles of her first four works (1981-1986). The retrospective analysis that develops through the questions thus reveals the methods and intuitions of the years of training of this great artist of the dance. Where do the first movements, the first gestures of a choreography come from? How do complex structures emerge, to allow the joyful invention of principles of composition and new performative styles? How do complex structures emerge, to allow the joyful invention of principles of composition and new performative styles? Anne Teresa De Keersmaeker uses the precision of her memory to evoke the motivations and the thousand events that guided the choice of movements, music, lighting and space architecture in these four creations. She tries to highlight what guides “the organization of bodies and energies in space and time”, thus laying the foundations of her choreographic work. Anne Teresa De Keersmaeker uses the precision of her memory to evoke the motivations and the thousand events that guided the choice of movements, music, lighting and space architecture in these four creations. She tries to highlight what guides “the organization of bodies and energies in space and time”, thus laying the foundations of her choreographic work. Seeking to recreate the rich material of which each choreography is made, Anne Teresa De Keersmaeker and Bojana Cvejic imagined a set of scores for Fase, Rosas danst Rosas, Elena’s Aria and Bartok’s String Quartet No. 4. Each of these scores combines a detailed account of the choreography, illustrated with numerous drawings, diagrams, photographs and documents on the show, with danced demonstrations by Anne Teresa De Keersmaeker.