November 2004 2004 Next Wave Festival

Kojo GrIflIn, UnliUed, (detalI) 2004

BAM 2004 Next Wave ORE Festival Is sponsored by: Altria 200~ext Wa~e EesfuLaJ_ Brooklyn Academy of Music

Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board

Karen Brooks Hopkins Joseph V. Melillo President Executive Producer

presents Near Life Experience Preljocaj

Approximate BAM Howard Gilman Opera House running time: November 3, 2004 at 8pm; Nov 4-6 at 7:30pm 1 hour and 15 by Angelin Preljocaj minutes, no Music by Air intermission Scenery by Angelin Preljocaj in collaboration with Tom Pye Lighti ng by Patrick Riou Costumes by Gilles Rosier Notator Dany Leveque Rehearsal assistant Karl Burnett

Near Life Experience is co-produced by Theatre National de Marseille la Criee, Theatre de la Ville-Paris, Festival Montpellier Danse 2003, Festival d'Avignon, Le Groupe Partouche-Casino municipal Aix/Thermal.

BAM 2004 Spring Season is sponsored by Altria Group.

Leadership support for BAM French programs is provided by The Florence Gould Foundation. Delta Air Lines is the official airline for BAM with major support from The Harkness Foundation for Dance and The Jerome Robbins Foundation, Inc.

Opening night reception support is provided by The Jerome Robbins Foundation, Inc. and the Cultural Services of the French Embassy in the United States. Dancers Leonardo Centi Craig Dawson Claudia de Smet Samir EI Yamni Celine Galli Emma Gustafsson Dejalmir Melo Alexandre Nipau Zaratiana Randrianantenaina Nagisa Shirai Yang Wang

Production Technical director Eric Valentin credits Production manager/sound Serge Sconamiglio Lighting director Thomas Veyssh!re Stage manager Michel Carbuccia Wardrobe supervisor Sylvie Lefray

Co-Commissioner/ Support for Ballet Preljocaj: Region Provence-Alpes-Cote d'Azur, Ville Producer d'Aix-en-Provence, Departement des Bouches-du-Rhone, DRAC PACA, Communaute du Pays d'Aix, Fondation BNP PARI BAS, AFAA-Association frangaise d'action artistique-Ministere des affaires etrangeres, Le Groupe Pa rtouche-Casino munici pa I Aix/Therma I.

Note from the Choreographer

Near Life Experience is a quest into different states of the body, states which relate to intermediary sensations. We verge on these states when we near zones which hover on the edge of existence, to which we have access in moments of fainting, during a trance, in the instant of ecstasy, or orgasm. The notion of both rapture and ravishment, of both intensely luminous sensation and the carrying off of the individual, comes close to this experience. The subject is elsewhere, carried off from himself; he is ravished.

Near Life Experience evokes all of this, an attempt to remove oneself from space and time. A sort of eclipse of the self, a quest through this imaginary state-a new expression in the space left by the body.

-Angelin Preljocaj Angelin Preljocaj/Ballet Preljocaj 2005. With four rehearsal studios and one per­ Angelin Preljocaj (choreographer), born to formance hall with 378 seats, it is a unique Albanian parents, started his career with production center for dance where the artists classical dance before turning to contemporary, can both work on the entire creation process which he studied in France and abroad with and perform the work they have created. It is a Karin Waehner, Zena Rommett, and Merce welcome new venue for the creations of Angelin Cunningham. In 1985, he received the first of Preljocaj and his dancers. At BAM, Ballet a long series of awards that attest to the quality Preljocaj has performed Romeo and Juliet of his work: a prize from the ministry of Culture (1998) and Helikopter and Rite of Spring at the International Concourse of Choreography (2002). of Bagnolet in 1985, a winner of the Villa Medicis "hors les murs" program in 1987, the Air (Jean-Benoit Dunckel and ) SACD Prize (1989), Grand Prix International de began in Versailles in the 1980s, when Video Danse in 1992 and 1999, Grand Prix Dunckel and Godin met in high school, and National de la Danse in 1992, Benols de la with Alex Gopher formed a pop-rock group Danse award in 1995, a Bessie Award in which they called Orange. Despite its populari­ 1997, a Victoires de la Musique award in ty, this group remained at the college band 1997, and more. In 1987, Preljocaj went to level. The duo made a name for itself with Japan to study Noh theater. In 1989, he was three CDs between 1995 and 1996. At the appointed Chevalier de l'Ordre National des time, one was an architecture student and the Arts et des Lettres , and at the same time his other was teach ing math. They both chose to company became Centre choregraphique devote all their time to music when audiences national of the Val-de-Marne department. In in England took notice of their work. As of 1996, Ballet Preljocaj settled in Aix-en-Provence 1998, their first , , with the and became Centre choregraphique national de hits "Sexy Boy" and "" la region Provence-AI pes-C6te-d'Azu r, de la ville brought immediate recognition from the public d'Aix-en-Provence et du departement des and the media, especially in England, Japan, Bouches-du-Rh6ne. The company is composed the U.S., and Germany. Their second album, of 24 dancers and Preljocaj has created 30 called 10,000 Hz Legend, was released in choregraphic works to date, six of which are May 2001. This album included the involve­ currently in the company's repertoire. The ment of . Their new album, , creation and touring of the repertoire are the composed of ten pop songs, was released last Ballet's priorities, resulting in about 100 January. Between , Dunckel and Godin performances a year, half of them international. turn to other artistic horizons and collabora­ Angelin Preljocaj's works are adapted for the tions. In 2000, they composed the soundtrack greatest worldwide: New York City for the first film by Sofia Coppola, The Virgin Ballet, the Staats Oper in Berlin, Gulbenkian Suicides, which they released under their own Ballet in Lisbon, La Scala of Milan, and the label, Record Makers. In the fall of 2003, they London Royal Ballet. Together with his choreo­ worked with Italian author Alessandro Baricco graphic work, Preljocaj produces videos and to set the short stories from his novel City to short films. As a Centre choregraphique national, music. This collaboration was originally intended the Ballet Preljocaj organizes a festival named for on-stage performance, was finally recorded, Corps aCCEur in May, and also conducts a producing the record Air / Baricco: City variety of actions designed to raise public Reading (Tre Storie Western). This same quest awareness: performances and discussions in for diversity led them to Angelin Preljocaj, schools, public rehearsals, lectures in which a composing the music for Near Life Experience. dancer comments on video excerpts of perform­ Jean-Benoit Dunckel and Nicolas Godin are ances, classes, training courses, master class­ passionate about instruments (guitars, pianos, es, and choreographic practice workgroups. old synthesizers), and are distinguished by Today, a building for dance is going up in Aix­ their unique way of integrating electronic en-Provence. It is a purpose-built choreograph­ instruments in traditional compositions. ic center and is scheduled to open in spring Air-discography (selected) working with the choreographer Fran<;ois Verret. 2004 Talkie Walkie (studio album) He discovered a passion for dance, working 2003 City Reading (Tre Storie Western) with great lighting designers such as Remy (studio collaboration with Alessandro Baricco) Nicolas, Jacques Chatelet, and Pierre 2001 10,000 Hz. Legend (studio album) Colomere. These experiences enabled him to 2000 The Virgin Suicides (film soundtrack) work in the highly diverse choreographic worlds 1999 Premier Symptomes of Joseph Nadj, Fran<;ois Raffinot, Karine (compilation of singles) Saporta, Kubila'f Khan Investigation, Catherine 1998 Moon Safari (studio album) Berbessous, Philippe Genty, and Angelin Preljocaj, for whom designed lighting for Gilles Rosier (costumes) was offered an Personne n'epouse les meduses, Portraits in internship with Pierre Balmain as soon as he Corpore, Helikopter, and MC 14/22. finished at the "Chambr\Syndicale de la Couture," a professional school. For two years Dany Leveque (notator), a specialist of choreo­ he had the responsibilities of assistant designer. graphic notation, was a student of Solanges Christian Dior then hired him as designer for Golovine after earning a degree in dance both the pret-a-porter collection and the haute (Associates of Arts) at the Sorbonne in Paris. couture collection. He worked for two years She then went on to be awarded the Benesh with Marc Bohan. Sensitive to the evolution in Institut in London's diploma in choreographic fashion-the new movement of avant-garde notation. In the same year she was able to put creators-he left haute couture in order to work her studies into practice with the notation of with designers focusing on current trends, such Appassionata by the choreographer Herve as Guy Paulin and Jean-Paul Gaultier, where Robbe. As a result of assisting Jean-Christophe he worked for five years as the assistant Maillot in organizing the parade for the arrival principal and studio head. He thus participated of the Olympic Flame Bearer in Paris in in the development of Gaultier's brand, and December 1991, she was presented with Villa threw himself into the Men's and Women's Medicis prize Hors les Murs for her study on collections. He worked with Jean-Paul Gaultier the relationship between video and notation. in Italy where he adapted products to the She has, since 1992, been Angelin Preljocaj's demands of the Italian market. The brand choregraphic chronicler and assistant for whom "Leonard" invited him to modernize their image she has notated a number of pieces; she recon­ and gave him artistic management of the men's structed Sand Skin, a shortened version of La line. Aware of the influence of sports on ready­ Peau du Monde, for the London Contemporary to-wear collections, Rosier took on the role of Dance Theatre; Le Spectre de la Rose for the artistic director for the Lacoste firm, where he Monte Carlo Ballet (1993), and L'Annonciation worked for eight years. Benefiting from his for the Paris Opera (1995). experience and expertise, he then created his own brand, "Gilles Rosier," and began to Karl Burnett (artistic and rehearsal assistant), present his own creations under his own name, after a very fulfilling career as a professional followed by "Gilles Rosier for women." In just dancer, went on to study at the three years the LVMH group approached him to Benesh Institute of London. As a qualified take over from Kenzo Takada. He became the choreologist (dance notator) he has either creative director for "Women's Universe," notated or remounted works by Sir Kenneth working on the Kenzo line while continuing to Macmillan, Angelin Preljocaj, Mauro Bigonzetti, design for his own brand, which is internation­ and Luciano Cannito. Between 1993 and ally recognized. 2002 he held various positions such as artistic assistant to Angelin Preljocaj, ballet master and Patrick Riou (lighting), after several years of repetiteur of the Ballet Preljocaj, ballet master studies at the Conservatory of Music in Toulon at the Deutsche Oper Berlin under the direction and training in making stringed instruments, of Ricahrd Cragun, and assistant director of Riou started his career in the performing arts Aterballetto. Since 2002, he has continued to Who's Wb...... -..-o _ work both as a freelance guest teacher and ing degree. Since 1991, she has worked with rehearsal director, in which capacity he has different companies in Belgium, such as had the pleasure of working with many diverse Charleroi Danses, performing choreographies and renowned companies such (Ballet by Merce Cunningham, Lucinda Childs, Gulbenkian, Ballet Preljocaj, National Ballet of Stephen Petronio, Adriana Boriello, Yoshiko Portugal, Nederlands Dans Theater, Plan Chuma, Claudio Bernardo, and Frederic KlCharleroi Danses, Bejart Ballet, and Rudra Flamand. In 1995, she joined Ballet Preljocaj, Lausanne). After an eight year absence, 2004 and received in New York a Bessie Award marks his return to the Ballet Preljocaj as artis­ (1997) for her interpretation as the angel in tic assista nt. Forthcom ing engagements incl ude Angelin Preljocaj's Annonciation. In 2000 she working with others ballets. moved to Sweden to work with Norrdans and worked on numerous freelance dance projects. Dancers She rejoined Ballet Preljocaj in March 2002.

Leonardo Centi was born in 1973 in Italy, Samir EI Yamni studied at l'Espace pleiade de where he began classical dance at the National la danse, then at Loft Brussels-Charleroi Academy of Dance in Rome, and studied con­ Dance from 1998 to 1999. Following his temporary dance with Elizabeth Gibiat (Merce training, he took part in many workshops at Cunningham technique). In 1995, he danced l'Ecole Superieur de Danse Rosella Hightower in Danza Prospettiva directed by Vittorio Biagi (Cannes) and one with Ohad Naharin from and in 1996 he danced with the Geneva Batsheva Dance Company. From 1999 to Junior Ballet, then the Milner Ballet in Italy. In 2001, he danced in Page blanche from 1997, he joined the Gulbenkian Ballet directed Waldeman Brandosky, Entre dos aguas from by Iracity Cardoso in Portugal. There, he per­ Robert North, Instant d'eternite from Guillaine formed for five years in works such as Noces Bottero, and Casanova from David Sonedebluck. by Angelin Preljocaj; The Vile Parody of He also danced with the choreographer Raza Address by William Forsythe; Lunar, 0 Dia Hammadi (Ballet Jazzart in Paris). In 1999, fragmento; Cartografia dos lugares comuns; Samir created Personne and in 2000 Quatuor Amesa em 15 minutos by Rui Horta; and during the Festival des rencontres de Tavarins. many other works by Jiri Kylian, Ohad Naharin, From 2000 to 2001, he danced in the Christopher House, and others. He joined Budapest Dance Theater in Hungary, then in Ballet Preljocaj in 2001. the Thor Company managed by Thierry Smith. Samir joined the Ballet Preljocaj in 2003. Craig Dawson trained at the West Street School of Ballet London (1988-1991). He danced Celine Galli was born in 1974 in Nice. She with London City Ballet (1991) in the produc­ began her studies at the National Conservatory tions Inlets II by Merce Cunningham, Mercuric for the Nice region in 1982, and continued Tiding by Paul Taylor, Overboard by Karole professional training in classical dance, modern Armitage; Half Wrong by Stephen Petronio; 8 dance, jazz, , and percussion at the Letters from 8 by Yoshiko Chuma; Danse Suit OFF JAZZ School from 1988 to 1991. At the by Adriana Borriello; and The Fall of Icarus, same time, she became an assistant to Titanic, Ex Machina, and Moving Target by Stephane Locci (dancer with the Redha Frederick Flamand-all with Charleroi Danses Ballets). In 1993, she began advanced Company, Belgium (1991-1996). He joined training in at the Paris Ballet Preljocaj in 1996. Conservatory of Music and Dance, then participated in several master classes with Meg Claudia De Smet studied gymnastics beginning Harper and Carolyn Carlson. She danced with at the age of six, and then entered the the Bruno Jacquin Company in 1993, then Provincial Institute for Ballet in Antwerp danced with the Ouverture Company in 1994, (Belgium) where she received her degree in and the Jean-Christophe Pare Company in ballet and contemporary dance and her teach- 1997. In 1999, she performed in The Merry Who's Wb~o _

Widow at the Torino Opera, choreographed by Zaratiana Randrianantenaina studied classical Laurence Fanon. During the same period, she dance at the National Conservatory for the performed in many conventions, musicals, (Les Dijon Region, where she won a gold medal in Dix Commandements, Sire/la) and music hall 1996. She then entered the Superior National productions. She joined the Ballet Preljocaj in Conservatory for Music and Dance (CNSMD) in 2001. Paris, where she pursued contemporary dance studies and literary studies with a special Emma Gustafsson was born in 1978 in schedule. In 1998, she won the first junior Karlskoga/Orebro, Sweden. In 1993, she prize for at the Voiron competition. In trained with the Elmhurst Ballet School in 2000/2001, she was awarded the Paris Camberley, England, then joined the Royal CNSMD prize with highest honors, and the Ballet School of Stockholm in 1994. In 1997, prize for the best young female dancer at the she entered Rosella Hightower's Jeune Ballet Ninth International Paris Dance Competition, International in Cannes, where she performed and obtained her Baccalaureate in Literature. solo roles in Larmes blanches by Angelin With the CNSMD contemporary Junior Ballet, Preljocaj, Sans Titre by Lar Lubovitch, Periples she performed in many tours in France and by Bruno Jacquin and several other works. abroad, and conducted many training classes. Then, in 1999, she danced with the She joined the Ballet Preljocaj in 2002. Staatheatre Saarbrucken in Germany, under the direction of Bernd R. Biernert. She joined the Nagisa Shirai was born in 1981 in Niigata, Ballet Preljocaj in 2001. Japan. She began classical dance with the Tamami Watanabe Ballet. She pursued her Dejalmir Melo was born in 1977 in Salvador training in Nantes, and in 1998, entered the de Bahia, Brazil. He began his career in Brazil Lyon National Music and Dance Conservatory. in 1995 at the Teatro Castro Alves Ballet under There she performed in Big City by Kurt Jooss, the direction of Antonio Carlos Cardoso where Swinging Charles Trenet by Michel Kelemen is, he performed the repertories of severa I chore­ Myriam Naisy, and 4 point 5 by Abou Lagraa. ographers: Noces, Santus et Orixas by Luiz She also danced in Experience, a personal Arieta, Do not go gently by Guilhermo Botelho, choreographic work that she presented in and 200 e poucos Megabites by Cristina Niigata, in Japan. She joined the Ballet Castro. In 1997, he received the prize of best Preljocaj in 2001. dancer by the FUNARTE, the national founda­ tion of the Arts. In 1998, he danced for Grupo Yang Wang, born in 1975, trained at the Corpo in Brazil, directed by Paulo Pederneiras, dance department of the PLA Academy of Arts. performing the choreography of Rodrigo In 1994, he won the Peach Blossom Cup, a Pederneiras. He joined Ballet Preljocaj in 2004. national dance competition. In 1997, he entered the China Beijing Alexandre Nipau was born in 1979 in Ensemble where he became chief dancer in Bayonne, France and began his first classical 1998. The same year, he won the Performance and jazz dance studies in 1987. He continued prize during the Beijing Youth Dance competi­ his training in the city of Montpellier, then tion. He choreographed his first work, entered the Conservatoire National Superieur Intolerable pain in life, in 1999 and appeared de Musique et de Danse of Lyon, where he in the Chinese national dance production Ah trained as a dancer-performer in the contempo­ Bing, nominated for the Chinese Cultural rary dance section, earning his national degree Award. In 1999 he worked with the Centre for in Higher Choreographic Studies. In 2000, he the Performing Arts institute as an international danced with the Lyon Conservatoire Young guest dancer. Then he came back to China in Ballet. He has danced in The Point choreo­ 2000 and entered the Jin Xing Dance Theatre graphed by Christian Canciani, a dancer with of ShanghaL He arrived in France in 2001 Bill T. Jones, and he presented Experience with where he danced in the Ballet du Nord before Nagisa Shirai in Niigata, Japan. He joined the joining Ballet Preljocaj in 2002. Ballet Preljocaj in 2001. Ballet Preljocaj-Repertory N, 2004 Near Life Experience, 2003 , 2001 Helikopter, 2001 Centaures, 1998 Annonciation, 1995 Un Trait D'Union, 1989

Angelin Preljocaj 1995 Annonciation Choreographic works since 1985 L'Oiseau de feu, Munich Ballet 1994 Le Parc, 2004 "N" 1993 Hommage aux Ballets Russes: Empty moves (part 1) Parade; Le Spectre de la rose 2003 Near Life Experience 1992 La Peau du Monde 2001 Le Sacre du printemps 1990 Amer America MC 14/22, "Ceci est man corps" Romeo et Juliette, Lyon Opera Ballet Helikopter 1989 Un Trait d'union 2000 Portraits in corpore Noces 1999 Personne n'epouse les meduses 1988 Liqueurs de chair 1998 Casanova, Paris Opera Ballet 1987 Hallali Romee Centaures Le petit napperon bouge 1997 Paysage apres la bataille 1986 A nos heros La Stravaganza, New York City Ballet 1985 Marche noir 1996 Romeo et Juliette, Ballet Preljocaj Larmes blanches 1995 Petit essai sur Ie temps qui passe Peurs bleues L'Anoure

FILMOGRAPHY-Fiction Les Raboteurs, 1988, 7min. Based on the work of Gustave Caillebotte Dir. Cyril Collard, char. Angelin Preljocaj Lettres d'Amerique: 2 short films Le Postier, 1991, 12mins., dir./chor. Angelin Preljocaj Idees Noires, 1991, 12 mins., dir./chor. Angelin Preljocaj Un Trait D'Union, 1992, 13 mins., dir./chor. Angelin Preljocaj Annonciation, 2003, 23mins., dir./chor. Angelin Preljocaj

Documentaries Travaux D'Angers, 1988, 13mins., dir. Noemie Perlov, char. Angelin Preljocaj Avant la Parade, 1995, 14mins., dir. Valerie Muller Portrait en Mouvement, 1997, 26mins., dir. Valerie Muller L'Effet Casimir, 1999, 55 mins., dir. Valerie Muller Artistic Di rector Angelin Preljocaj

General Manager Nicole SaId

Executive Secretary Elisabeth Martin, Carole Redolfi Rehearsal Assistants Youri Van den Bosch, Karl Burnett Notator Dany Leveque

Dancers Isabelle Arnaud Anna Hagerniark Leonardo Centi Celine Marie Gaelle Chappaz Dejalmir Melo Herve Chaussard Thomas Michaux Craig Dawson Alexandre Nipau Samir EI Yamni Lorena O'Neill Van Giraldou Toshiko Oiwa Sebastien Durand Zaratiana Randrianantenaina Celine Galli Nagisa Shirai Natacha Grimaud Guillaume Siard Emma Gustafsson Claudia De Smet Harald Krytinar Yang Wang

Educational Activities Emilio Calcagno Technical Director Eric Valentin Technical Assistant Alexa Le Tiec General Secretary Muriel Rapy Ad min istrator Jacques Jaricot Administrative Assistant Frederique Florent Accountants Valerie Berset, Magalie Nallet Communications Virginie Gallon, Sophie Paul Filing Clerk Stephanie Pineau Audience Relations Thomas Schnabel, Celine Jolivet Secreta ries Charline Gicquiel, Estelle Garcia Production Lara Thozet, Melanie Roger Artists' Admin. Asst. Nathalie Zoccola Logistician Alice Pons

Ballet Preljocaj Centre Choregraphique National 8-10 rue des Allumettes, 13 098 Aix-en-Provence Cedex 02, France tel: (33)4 42 93 48 00 / fax: (33)4 42 93 48 01 Website: www.preljocaj .org Email.Direction:[email protected] Production: [email protected] Communication: [email protected]

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