2010 Next Wave Festival NOV 2010 Elliott Puckette, Untitled, 2008 Published by: BAM 2010 Next Wave Festival is part of Diverse Voices at BAM sponsored by: 2010 Next Wave Festival Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer presents Gezeiten Approximate BAM Howard Gilman Opera House running time: Nov 3, 5 & 6, 2010 at 7:30pm one hour and 50 minutes, no Sasha Waltz & Guests intermission Directed and choreographed by Sasha Waltz Music by Jonathan Bepler and Johann Sebastian Bach Stage design by Thomas Schenk and Sasha Waltz Costume design by Beate Borrmann Lighting design by Martin Hauk BAM 2010 Next Wave Festival is part of Diverse Voices at BAM sponsored by Time Warner Inc. Leadership support for the Next Wave Festival provided by The Ford Foundation. Leadership support for Gezeiten provided by brigitte nyc. Major support for dance at BAM provided by The Harkness Foundation for Dance and The SHS Foundation. Gezeiten DANCE & CHOREOGRAPHY Liza Alpízar Aguilar Koen De Preter Davide Camplani Virgis Puodziunas Juan Kruz Diaz de Garaio Esnaola Sasa Queliz Matija Ferlin Maria Eugenia Rivas Medina Gabriel Galindez Cruz Mata Sakka Maria Öhman Claudia de Serpa Soares Pinar Ömerbeyoglu Xuan Shi Friederike Plafki Davide Sportelli MUSIC Baroque cello Martin Seemann Suites for Violoncello Johann Sebastian Bach No 1 in G major, BWV 1007: Sarabande No 2 in D minor, BWV 1008: Prelude, Courante, Sarabande No 5 in C minor, BWV 1011: Prelude PRODUCTION CREDITS Light technician Martin Hauk Stage technician Daniel Herrmann Sound technician Lutz Nerger Assistant technical direction Carsten Grigo Props Brad Hwang Wardrobe Jana Bolze, Beate Borrmann Hair & makeup Kati Heimann Rehearsal director Luc Dunberry Assistant director Steffen Döring, Francesca Noia Tour management Karsten Liske Technical direction Reinhard Wizisla Artistic direction—Sasha Waltz & Guests Jochen Sandig Produced in association with Schaubühne am Lehniner Platz, Berlin Sasha Waltz & Guests is funded by the Hauptstadtkulturfonds Gezeiten A room where traces and vestiges of the past are evident. The last remaining place of sanctuary, the final refuge. The catastrophe outside is destroying everything, threatening the captives of a common destiny, Photo: Sebastian Bolesch penetrating ever deeper. With their current work, Gezeiten (Tides), Sasha Waltz and her new ensemble of 16 dancers investigate the trans- formations to which life is continu- ally subjected. Seeking an idiom which can fathom the physical and metaphysical strata, Gezeiten is concerned with the interrelation of destruction and renewal. Sasha Waltz takes diverse aesthetic and contextual standpoints, bringing to- gether the representational and sur- real theatricality of her early pieces, where everyday objects transmute to become living dance partners, with the abstraction and physical dynamism of her recent works. She concentrates in particular on the crises that disrupt the normal flow. With peril outside, the captives face existential questions and terrors, deliberations regarding ownership and power, and the simultaneous dwindling and increase of compas- sion for the suffering of others. New regulations and structures are estab- lished. What will remain following disintegration and collapse? How do we rebuild our world—again and again? What is worth saving? Who’s Who Photo: Gert Weigelt Sasha Waltz (choreography/direction) was born Medea, with music by Pascal Dusapin and text in Karlsruhe, Germany. She studied dance and by Heiner Müller, had its world premiere in Lux- choreography in Amsterdam and New York. In emburg as a part of the European Culture Capital 1993 she co-founded her company, Sasha Waltz City 2007; in October of that year, the Opéra de & Guests, with Jochen Sandig in Berlin. In 1996 Paris presented choreography by Sasha Waltz she opened the critically acclaimed sophiensaele, to Hector Berlioz’ dramatic symphony Roméo et a theater she co-founded with Sandig. In 2000, Juliette. The music-based choreographic project Waltz was named one of the artistic directors of Jagden und Formen (Zustand 2008), with music Berlin’s Schaubühne am Lehniner Platz where— by Wolfgang Rihm, developed with the Ensemble among others—she created the pieces Körper Modern, premiered in Frankfurt am Main in the (BAM 2002 Next Wave), S, and noBody, as well spring of 2008. In March 2009 Sasha Waltz & as the choreographic installation insideout. In Guests presented the project Dialoge 09—Neues 2005 Sasha Waltz & Guests once again became Museum at the New Museum in Berlin. Dialoge an independent company, with Jochen Sandig 09— MAXXI by Waltz inaugurated Rome’s new as artistic director. In January 2005 her first museum, MAXXI_Museo nazionale delle arti choreography for opera, Dido & Aeneas, had its del XXI secolo, in November 2009. In 2010 world premiere at Grand Théâtre de Luxembourg, her new choreography, Continu, premiered Luxembourg. In 2007 Sasha Waltz presented, in Zurich, followed by her next choreographic among other works, two choreographed opera: opera, Passion, (composed by Pascal Dusapin) Who’s Who at the Théâtre des Champs-Élysées, Paris. Waltz 1995 and designed the sets for Travelogue was awarded the French Honor of Officier de III—All Ways Six Steps, Allee der Kosmonauten, l’Ordre des Arts et des Lettres in 2009 as well as Zweiland, Na Zemlje, Körper, noBody, insideout the Caroline-Neuber-Preis in 2010. In 2011 the (which was awarded the 2004 OPUS Prize for opera Matsukaze by Japanese composer Toshio Best Stage Design), and Dido & Aeneas. He also Hosokawa with choreography by Sasha designed Luc Dunberry’s anything else and Don’t Waltz will première at the Oper La Monnaie in we, as well as d’avant by Sidi Larbi Cherkaoui, Brussels. Damien Jalet, and Juan Kruz Diaz de Garaio Es- naola. Schenk designed together with Pia Maier- Jonathan Bepler (music) was born in Pennsyl- Schriever the set for Sasha Waltz’ choreography vania in 1959. His compositions are presented Roméo et Juliette at the Paris Opera in 2007 internationally in a multitude of contexts. His as well as for Continu (world premiere at Zurich more recent works include a video-opera em- Festival 2010). ploying 600 voices, performed at the Acropolis in Greece; an electronic score for ballet which Beate Borrmann (costume design) was born premiered in Montpellier; a work for four pianos 1975 in Berlin. She studied fashion, costume, and noise generators, which was presented at and stage design in Berlin, St. Petersburg, and BAM; and a film score for the Cremaster film Krakow. Besides working as an assistant cos- cycle by artist Matthew Barney. Bepler first tume and stage designer she has produced her worked with Waltz in 2000 as composer for S. own designs for Schaubühne am Lehniner Platz, They have since developed projects together Staatsoper Unter den Linden Berlin, and Kleist- within the framework of Dialoge in Essen, Berlin, theater Frankfurt/Oder. She has been working and Bordeaux. with Sasha Waltz since 2003. Thomas Schenk (stage design) was born 1958 Martin Hauk (lighting design) was born in 1961 in Mainz, Germany where he studied architec- in Berlin, and studied theater and event technol- ture. He has worked with Sasha Waltz since ogy. While employed by Art Lab Studios, Berlin, Photo: Sebastian Bolesch Who’s Who Photo: Gert Weigelt he produced events for Shell, Skoda, and IBM, productions Dialogue 09—Neues Museum and and created the lighting for Cora Frost, Gayle Dialogue 09—MAXXI. Of the repertoire of Sasha Tufts, Tim Fischer, and Alex B. He has worked Waltz & Guests, Alpízar Aguilar also performs in with Sasha Waltz since 1996, lighting Zweiland, Medea, Jagden und Formen (Zustand 2008), Körper, S, noBody, insideout, and Continu. and Continu. Liza Alpízar Aguilar (dancer) was born in 1983 Davide Camplani (dancer) was born in 1968 in in San José, Costa Rica. She studied dance at Marone, Italy. He studied contemporary dance the Conservatorio El Barco in Costa Rica where with Giulia Gussago and Claudio Gasparotto and she also took part in various workshops with at the Folkwang-Hochschule in Essen, where he Verónica Yáñez, Jimmy Ortíz, Juan Kruz Diaz graduated in 1999. He has danced with Giulia de Garaio Esnaola, Joëlle Bouvier, Lutz Förster, Gussago in Italy, the Mark Sieczkarek Company, Fernando Suels, and Dominique Mercy. She Malou Airaudo, and the Bonn Opera, among performed Soffio by Paco Decina, Corazón de others. Camplani participated in the film produc- Azufre by Fernando Hurtado, Hay un Tiempo by tion Arie (2003), directed by Gianluca Vallero, Stephan Brinkman, and with Costa Rican dance as choreographer and dancer, and as a dancer companies, 4pelos (Losdenmedium) by Jimmy in the film história (2007), by Karsten Liske. He Ortíz, DiquisTiquis, and Las hijas de otro. Alpízar has been working with Sasha Waltz & Guests Aguilar took classes with Jeremy Nelson, Luis since 1999. Camplani can be seen dancing in Malvacias, Janet Panetta, and Susan Klein. She Körper, noBody, Medea, Travelogue I—Twenty first danced for Sasha Waltz & Guests in 2006 to eight, Jagden und Formen (Zustand 2008), in the production Dialoge 06—Radiale Systeme. and Continu by Sasha Waltz, The rest of you by Since then, she has also taken part in the Juan Kruz Diaz de Garaio Esnaola and Luc Dun- Who’s Who berry, and Don’t we by Dunberry. He also took Elysées, Paris. He also creates his own pieces: part in various Dialoge projects by Sasha Waltz. The rest of you (2000) with choreographer Luc Since 2008 Camplani has directed the children’s Dunberry and My Dearest... My Fairest (2000) dance company of Sasha Waltz & Guests togeth- with Australian musician-performer Joanna Dud- er with Mata Sakka und Gabriel Galindez Cruz. ley, whose solo piece He taught me to yodel he In 2009 he started working on his own project, directed as well.