presents

JOHN JASPERSE PROJECTS

First Lady Michelle Obama, 2014 Honorary Chair

•

Monday, July 7- Wednesday, July 9 at 8:00pm Reynolds Industries Theater

WITHIN BETWEEN (2014)

Choreography by John Jasperse in collaboration with the performers

Performed by Maggie Cloud, Simon Courchel, Burr Johnson, and Stuart Singer

Original score composed by Jonathan Bepler

Recorded Music featuring Mick Barr, Megan Schubert, Eric Hubel, Jonathan Bepler, Kjersti Kveli, Gelsey Bell, Meg Fitzpatrick, Michael Cheever, Will Gardner, Algis Kizys, Bradford Reed, Geoff Gersh, Zeena Parkins, Scott Moore, Crag Rodriguez, Alex Hacke, Greg McMullen, Josh Henderson, and Adriel Williams

Additional Music The Ohio State Marching Band, selections composed by Traditional, Dr. Jon R. Woods, James Swearingen and William A. Dougherty, Debussy, Suite Bergamasque, Clair de Lune, performed by Jean-Efflam Bavouzet

Lighting Design by Lenore Doxsee

Visual Design by Lenore Doxsee and John Jasperse

Stage Manager and Lighting Director Sarah E. Lurie

Dramaturgical Assistance Ariel Osterweis

Rehearsal and Costume Assistance Eleanor Hullihan

Costume Construction Abehal “Fattah” Abdallah of Marrakech Tailor

Development Assistance Christiana Axelsen

Production Administration Kirsten Schnittker

Special thanks to Malcolm Low, who participated in an early stage of this project

Within between is commissioned by the American Dance Festival (with support from the Doris Duke/SHS Foundations Award for New Dance) and New York Live Arts (with support from the National Endowment for the Arts and contributors to the Dance Theater Workshop Commissioning Fund).

Within between is made possible through the generous support of the MAP Fund, a project of Creative Capital, New Music USA through the Commissioning Music USA and Live Music for Dance programs, the James Robison Foundation, the Peter S. Reed Foundation, the Mertz Gilmore Foundation Late Stage Production Fund, the Harkness Foundation for Dance, the New York State Council on the Arts, the National Endowment for the Arts, and the NYC Dept. of Cultural Affairs. Portions of the work were developed during a Lower Manhattan Cultural Council Process Space residency on Governor’s Island in NYC and a residency at the American Dance Institute in Rockville, MD.

BIOGRAPHIES

JOHN JASPERSE has been living and working in New York City as a dance artist since graduating from Sarah Lawrence College in 1985. Jasperse has created sixteen evening- length works for John Jasperse Projects, including most recently, Within between (2014), Fort Blossom revisited (2000/2012) and Canyon (2011). Jasperse is the recipient of a 2014 Doris Duke Artist Award.

His work has been presented by festivals and presenting organizations in the US including the American Dance Festival, Durham, NC; Diverseworks, Houston, TX; The Flynn Center for the Performing Arts, Burlington, VT; Museum of Contemporary Arts, Chicago, IL; On the Boards, Seattle, WA; Philadelphia Live Arts, PA; Summer Stages, Concord, MA; the Walker Art Center, Minneapolis, MN; the Wexner Center for the Arts, Columbus, OH; Yerba Buena Center for the Arts, San Francisco, CA; and internationally in Brazil, Chile, Israel, Japan and Panama, as well as throughout Europe including at La Biennale di Venezia; Cannes International Dance Festival; Dance Umbrella, London; EuroKaz, Zagreb; Kampnagel, Hamburg; Montpellier Danse; Tanz im August, Berlin; TanzQuartier Wein; and Künstlerhaus Mousonturm, Frankfurt. In New York, Jasperse has been presented at numerous venues including four appearances as part of The Brooklyn Academy of Music’s Next Wave Festival at the Harvey Theater, Dance Theater Workshop, Danspace Project, The Joyce Theater, The Kitchen, New York Live Arts, and Performance Space 122.

Jasperse has created several works for other companies including Baryshnikov Dance Foundation’s White Oak Dance Project; Batsheva Dance Company in Tel Aviv, Israel; Lyon Opéra Ballet, France; Irish Modern Dance Theater, Dublin, Ireland; Headwaters Dance Company, Missoula, Montana; and Ririe- Woodbury Dance Company, Salt Lake City, Utah.

His work received a New York Dance and Performance Bessie Award in 2001 and has been supported by grants and fellowships including a 2011 US Artists Brooks Hopkins Fellowship, fellowships from the Foundation for Contemporary Arts (2003), the Tides Foundation’s Lambent Fellowship in the Arts (2004-2007), John Simon Guggenheim Memorial Foundation (1998), the National Endowment for the Arts (1992, 1994, 1995-96), and the New York Foundation for the Arts (1988, 1994, 2000, and 2010).

JONATHAN BEPLER was largely self-taught on many instruments before he attended Bennington College, where his studies included composition, improvisation, and performance. His work often involves co-mingling many seemingly disparate elements, a love of chaos, and a thirst for reconciliation. Bepler has worked often with choreographers (MinTanaka, Wendy Perron, Sasha Waltz, Jennifer Lacey, and Wally Cardona) and has led ensembles of both improvised and pre-composed music in New York and abroad. His concert music includes commissions for the Ensemble Modern, the Glenn Branca Ensemble, and the Basel Synfonietta. His work with artist Matthew Barney has spanned nearly 20 years and has included seven films and nine performances. Their 2014 film/opera River of Fundament is touring internationally.

MAGGIE CLOUD grew up in Sarasota, FL and graduated from Florida State University with a BFA in Dance. Since moving to New York in 2009, she has performed in works by choreographers Lauren Bakst, Kim Brandt, Diana Crum, Moriah Evans, John Jasperse, Burr Johnson, Jen McGinn, Sarah Michelson, Pam Tanowitz, Gillian Walsh, and Emily Wexler.

SIMON COURCHEL was born in Paris and studied dance at the Conservatoire National Supérieur de Musique et de Danse, from which he graduated. He then worked in Europe with Frederic Flamand, Michel Kelemenis, Lucinda Childs, Jean-Claude Gallota, Dominique Bagouet, Yuval Pick, William Forsythe, Tero Saarinen, and Russel Maliphant, among others. Since 2010, Simon has lived in New York, where he worked until 2013 as Deputy Director at The Invisible Dog Art Center. He is currently collaborating and dancing with Yanira Castro, John Japerse, Jon Kinzel, Paul-André Fortier, and Enrico D. Wey. Courchel also works as a photographer. simoncouchel.com

LENORE DOXSEE is a lighting designer for theater, opera, and dance. Recent designs include Der Kaiser von Atlantis for Curtis Institute of Music, Meg Foley’s The whole time in the meanwhile, and Almira for Boston Early Music Festival. Designs for Miguel Gutierrez include And lose the name of action, Last Meadow (Bessie Award), HEAVENS WHAT HAVE I DONE, Difficult Bodies/Retrospective Exhibitionist (Bessie Award), and enter the seen. Other designs for dance include Morgan Thorson’s Spaceholder Festival and Heaven, Devouring, Devouring for Netta Yerushalmy (set design also), and Karen Sherman’s Copperhead and Cold Comfort. Her designs for theater include Target Margin’s The Tempest and Uncle Vanya, and Panic! Euphoria! Blackout (set design also) for the Talking Band. Lenore is the resident lighting designer for Target Margin Theater and has designed in many other venues including New York City Opera, La Mama, HERE Arts Center, and The Kitchen.

BURR JOHNSON is a dancer and choreographer based in New York City. He holds a BFA in Dance and Choreography from Virginia Commonwealth University. Johnson works with choreographers John Jasperse, Helen Simoneau, Christopher Williams, and Shen Wei. He also performed in two reconstructions of Laura Dean’s dances, Tympani in 2008 and Infinity in 2009. In 2013, he premiered Christopher Williams’ choreography in Peter Sellars’ The Indian Queen. His choreographic work has been presented through Movement Research at Judson Church, Underexposed at Dixon Place, OneArmRed, Elizabeth Dee Gallery, Emergency Glitter at Abron’s Art Center, Josée Bienvenu Gallery, Danspace Project, and New York Live Arts. In moments away from dance Johnson enjoys gardening and cats.

SARAH LURIE is a NYC based manager and lighting designer for live performance. Recent credits include touring lighting director for Mike Birbiglia’s one man show My Girlfriend’s Boyfriend, lighting director and production manager for MGPP’s and lose the name of action, lighting design for Plum de Force (Bushwick Starr), Colin Quinn’s Unconstitutional (Cherry Lane Theatre), A Dream Play (HERE Arts), The Red and the Black (Theatre at St. Clements), Thoroughly Modern Millie (NYU), and The Birthday Party (14th St Y). www.sarahelurie.com

STUART SINGER is a Brooklyn-based performer and teacher. He has had the pleasure of working with choreographers Beth Gill, Gwen Welliver, Joanna Kotze, Wally Cardona, Doug Varone, Lucinda Childs, Yanira Castro, Netta Yerushalmy, Jack Ferver, Christopher Williams, Lindsay Clark, Mollye Maxner, and the Bill T. Jones/Arnie Zane Dance Company (2004- 2008). He recently performed in the world tour revival of the Philip Glass/Robert Wilson opera Einstein on the Beach. Singer has taught on faculty at Bard College, Bennington College, and the American Dance Festival, and is currently a guest lecturer in dance at Princeton University. Originally from Western Massachusetts, he is a BFA graduate of SUNY- Purchase College.

SPECIAL THANKS

Special Thanks to the institutional and individual donors who have supported John Jasperse Projects/Thin Man Dance, Inc. and made this project possible; Eleanor Hullihan for her generosity and artistry; Michael Baenen for encouragement, love and support; Ariel Osterweis for her wisdom, insight and generosity; Sarah Lurie for her incredible dedication, attention to detail and exceptional work ethic; Lenore Doxsee for her visionary lighting, visual artistry and the consummate pleasure that is hanging out and talking through ideas; Christiana Axelsen and Kristen Schnittker for their dedication and hard work in getting this organized; Kristen Naimen; Joel Howell and Playwrights Horizons; Rory Mulholland and Rory Mulholland Scenery, LLC; Will Penrose and the staff of LMCC; Paz Tanjuaquio and Topaz Art Center; Arthur Aviles, Charles Rice Gonzalez, Carlo Quispe and BAAD! Bronx Academy of Art and Dance; Barbara Bryan, Ann Marie Lonsdale, Jen McGinn and CPR - Center for Performance Research; Movement Research; Donna Uchizono, Macauley Honors College; Jana Feinman and the Dance Department at Hunter College; Carla Peterson, Michael Lonergan, Vincent Vigilante, Mike Zimmerman, Jean Davidson, Bill T. Jones and New York Live Arts; Ruth Moe, Dena Douglass, Justin Wells, and the American Dance Institute; Sarah Tondu, David Ferri, Tiffany Schrepferman, Jodee Nimerichter and the American Dance Festival; Penelope Dannenberg, Jenny Palmer, Howard Seligman and the board of Thin Man Dance, Inc.; and finally extra special thanks to the performers—Maggie, Simon, Burr and Stuart—for their dedication, artistry and generosity over the past year: it has been such a pleasure and a privilege to collaborate with you all.

presents

BALLET PRELJOCAJ

First Lady Michelle Obama, 2014 Honorary Chair •

Friday, July 11 & Saturday, July 12 at 8:00pm Durham Performing Arts Center

EMPTY MOVES (PARTS I, II & III) (2014)

Choreography Angelin Preljocaj

Sound John Cage, Empty Words

Special thanks to Goran Vejvoda

Dancers Virginie Caussin, Yurié Tsugawa, Fabrizio Clemente, and Baptiste Coissieu

Assistant, Deputy to the Artistic Direction Youri Van den Bosch

Choreologist Dany Lévêque

Technical Director Luc Corazza

Technical and Sound Manager Martin Lecarme

Empty moves (parts I, II & III), Creation 2014 Coproduction: Festival Montpellier Danse 2014, Théâtre de la Ville- Paris

Empty moves (parts I & II), Creation 2007 Coproduction: Festival Montpellier Danse 2007

Empty moves (part I), Creation 2004 Commission: Biennale nationale de danse du Val-de-Marne Coproduction: The Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work

Empty moves is a laboratory in which Angelin Preljocaj experiments with innovative gestures, body combinations, and new passes and portés, a vocabulary more fluent and less angular than he has used in the past. To highlight his process he turns to John Cage’s Empty Words, a random string of phonemes, read by Cage during his performance in Milan—a demonstrative act to show that the abstract exists and that it is unbearable to the audience who responds by jeering at the unperturbed performer. Thirty years later, Empty moves employs the same approach. Despite their undeniable materiality, the four dancers defy elucidation. They recount nothing, they reject all communication, and theme but continuously coil and uncoil in a flow of inexhaustible movement. In this way they express the simple pleasure of their existence and are paid homage by an audience, who although not necessarily willing to listen, has at least agreed to look at abstraction. —Agnès Freschel

The Ballet Preljocaj, National Choreographic Centre is subsidised by the Ministry of Culture and Communication – DRAC PACA, the Provence-Alpes-Côte d’Azur Region, the Bouches-du-Rhône Department, the Aix Regional Community, and the City of Aix-en- Provence.

It receives support to develop its projects from the Groupe Partouche - Casino Municipal d’Aix-Thermal, the Total Corporate Foundation, corporate members of the Carré des Mécènes and individual and corporate members of the Cercle des Mécènes.

Ballet Preljocaj Nicole Saïd, General Manager www.preljocaj.org

North American representative - Sunny Artist Management Inc. Montreal Canada Ilter Ibrahimof, Director www.sunnyartistmanagement.com

ABOUT THE COMPANY

1985: the birth of a company Created in December 1984, the Preljocaj company became the National Choreographic Centre of Champigny-sur-Marne and Val-de- Marne in 1989.

In 1996, the ballet was welcomed at the Cité du Livre in Aix-en- Provence and became the Ballet Preljocaj – National Choreographic Centre of the Provence-Alpes-Côte d’Azur Region, the Bouches-du- Rhône Department, the Pays d’Aix Community, and the City of Aix- en-Provence.

International recognition Since founding his company, now composed of 24 dancers, Angelin Preljocaj has created 48 choreographic works, ranging from solo to larger formations. The ballet performs about 100 dates per year on tour, in France and abroad.

Angelin Preljocaj has collaborated with other artists like Enki Bilal (Roméo et Juliette, 1990), Air (Near Life Experience, 2003), Granular Synthesis (N, 2004), Fabrice Hyber (Les 4 saisons..., 2005), Jean Paul Gaultier (Snow White, 2008), Constance Guisset (Le funambule, 2009), Claude Lévêque (Siddharta, 2010), Laurent Garnier and Subodh Gupta (And then, one thousand years of peace, 2010), and Azzedine Alaïa and Natacha Atlas (The Nights, 2013).

His creations have been restaged by numerous other repertory companies, from which he also receives requests to create new pieces. This has been the case with the New York City Ballet, the Staatsoper in Berlin, and the Paris Opera Ballet.

Establishing local ties Beyond the repertory performances, Ballet Preljocaj has expanded its activities in Aix-en- Provence and neighbouring communities in order to share its passion for dance with a broader public, including lectures on dance interpretation through video, public rehearsals, contemporary dance classes and workshops, and dance interventions in urban public space—all means of viewing and understanding dance from different perspectives.

2006: the opening of a place for dance in Aix-en-Provence The Ballet Preljocaj is now settled into its new home, designed by the architect Rudy Ricciotti, in Aix-en-Provence. The Pavillon Noir is the first production center built for dance, where artists will be able to go through the entire creative process, from workshops and rehearsals to staging and performance. The Pavillon Noir opened its doors on October 20, 2006. Angelin Preljocaj is the artistic director. Performances are programmed all year round, with Angelin Preljocaj’s creations and also those of invited companies. www.preljocaj.org

BIOGRAPHIES

ANGELIN PRELJOCAJ was born in Paris, France, and began studying classical ballet before turning to contemporary dance, studying with Karin Waehner.

In 1980, he went to New York to work with Zena Rommett and Merce Cunningham, after which he resumed his studies in France, where his teachers included Viola Farber and Quentin Rouillier. He then joined Dominique Bagouet before founding his own company in December 1984.

His productions are now part of the repertoire of many companies, many of which also commission original works from him, notably La Scala of Milan, the New York City Ballet and the Paris Opera Ballet.

He has made short films (Le postier, Idées noires in 1991) and several full-length films, notably Un trait d’union and Annonciation (1992 and 2003), for which he was awarded the Grand Prix du Film d’Art in 2003, the Vidéo-Danse First Prize in 1992, and the Prague Video Festival Prize in 1993. In 2009, he made Snow White, featuring his own work, and in 2011 he worked with Air France on the commercial L’Envol, based on the choreography of Le Parc. Since then he has collaborated on several films of his own choreographic work: Les Raboteurs with Cyril Collard (based on the painting by Gustave Caillebotte) in 1988, Pavillon Noir with Pierre Coulibeuf in 2006, and Eldorado/Preljocaj with Olivier Assayas in 2007.

Several books have been written about his work, notably Angelin Preljocaj (2003), Pavillon Noir (2006), and Angelin Preljocaj, Topologie de l’invisible (2008). Throughout the course of his career, Angelin Preljocaj has received numerous awards, including the Grand Prix National de la Danse awarded by the French Ministry of Culture in 1992, the Benois de la danse for Le Parc in 1995, the Bessie Award for Annonciation in 1997, Les Victoires de la musique for Roméo et Juliette in 1997, and the Globe de Cristal for Snow White in 2009. He is an Officier des Arts et des Lettres and a Chevalier de la Légion d’honneur, and he was appointed an Officier de l’ordre du Mérite in May 2006. Angelin Preljocaj is the recipient of the 2014 Samuel H. Scripps/American Dance Festival award.

Since October 2006, Ballet Preljocaj and its 24 permanent dancers have resided at the Pavillon Noir in Aix-en-Provence, a building entirely dedicated to dance, with Angelin Preljocaj as its artistic director.

YOURI VAN DEN BOSCH (Assistant, Deputy to the Artistic Direction) After studying at the Ecole Jacques Sausin in Brussels, Youri Van den Bosch started his career as a professional dancer. He holds a State Diploma as a Dance Professor, and has directed classes for professionals (to prepare the State Diploma), workshops, and classes for amateurs, as well as many projects to help promote dance awareness in schools. In September 1999, he entered the company assisting Angelin Preljocaj. He has been Deputy to the Artistic Direction since 2005.

DANY LÉVÊQUE (Choreologist, Benesh Notation) A student of Solange Golovine, Dany Lévêque studied choreographic notation and obtained a diploma from the Benesh Institut of London. She made her first notation for Hervé Robbe. As an assistant to Jean- Christophe Maillot in organizing the arrival of the Olympic flame bearer in Paris (1991), she obtained the Villa Médicis prize Hors les Murs for her study on the relationship between video and notation. Since 1992, she has been working for Angelin Preljocaj, for whom she has noted and reconstructed numerous pieces.

VIRGINIE CAUSSIN (Dancer) was born in Belgium in 1984. She trained in Namur (Belgium) at the Centre de danse Osmose dance school, directed by Graziella Gillebertus. In 1998, she joined the In Principaë Ballet company. In 2005, she joined the Académie Internationale de la Danse in Paris where she trained in various classes combining dance, song, and acting. In 2006, she took part in the French and Belgian tour of the Béjart Ballet Lausanne in L’amour- la danse and Zarathoustra le chant de la danse. She joined Ballet Preljocaj in 2006.

YURIÉ TSUGAWA (Dancer) was born in Japan in 1988. In 2005, she studied at Rosella Hightower Dance School in Cannes. With the Junior Ballet of Cannes, she performed pieces by several choreographers. In 2008 she worked for the Ballet Preljocaj as a trainee in the creation Snow White. At the same time, she started working with Sylvain Groud on Cordes. Yurié joined Ballet Preljocaj in 2009.

FABRIZIO CLEMENTE (Dancer) was born in Italy in 1985. In 2005, he worked for the Rome-based SpellBound Dance Company directed by Mauro Astolfi. In 2007, he left the company to study at the Rosella Hightower Ecole Supérieure de Danse, in Cannes. In 2008, he was part of the professional insertion cell of the Ballet de Lorraine at Nancy, directed by Didier Deschamps. He joined Ballet Preljocaj in 2009.

BAPTISTE COISSIEU (Dancer) In 2001, he entered the National Dance Conservatory of Valence in the classical section. From 2002 to 2007, he studied at the NDC of Lyon in the contemporary section and performed for the Junior Ballet of Lyon. He won the international competition at Biarritz in 2006 and in 2007 joined D.A.N.C.E (Dance Apprentice Network aCross Europe). He joined Ballet Preljocaj in 2008.