Triptych (Eyes of One on Another) holland festival Triptych (Eyes of One on Another)

Bryce Dessner Kaneza Schaal Korde Arrington Tuttle Roomful of Teeth Asko|Schönberg

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Info & context Credits American Wedding Triptych (Eyes of One on Another)

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date & starting time introduction Tue 18 June 2019, 8.30 pm by Charlotte van Lingen Wed 19 June 2019, 8.30 pm 7.45 pm venue meet the artist Internationaal Theater Amsterdam, Wed 19 June - after the performance Grote Zaal moderator Charlotte van Lingen running time Eyes on Robert 1 hour 10 minutes 18 June – 31 July no interval Melkweg Expo works by: Ari Versluis, Daan Couzijn, Dustin language Thierry, Dylan van Vliet, Ferry van der English Nat, Henri Verhoef, Martijn Mendel and Vytautas Kumza Credits

music mover Martell Ruffin libretto production Korde Arrington Tuttle ArKtype / Thomas O. Kriegsmann text in collaboration with Essex Hemphill & Patti Smith The Robert Mapplethorpe Foundation direction associate director Kaneza Schaal Lilleth Glimcher music direction associate music director Brad Wells William Brittelle soloists set, costumes Alicia Hall Moran, Isaiah Robinson Carlos Soto performed by light Roomful of Teeth Yuki Nakase Estelí Gomez Abigail Lennox video Martha Cluver Simon Harding Eliza Bagg Eric Dudley production management Thomas McCargar William Knapp Cameron Beauchamp Thann Scoggin associate lightning design Valentina Migoulia Asko|Schönberg David Kweksilber, clarinet, bass clarinet video engineer Jan Harshagen, French horn Moe Shahrooz Pauline Post, keyboard, piano, harmonium Wiek Hijmans, electric guitar dramaturgy Noè Rodrigo Gisbert, percussion Talvin Wilks, Christopher Myers Joey Marijs, percussion Marijke van Kooten, violin Liesbeth Steffens, viola Sanne van der Horst, cello commisioners An ArKtype Production, Produced in Residency with and Commissioned by University Musical Society, University of Michigan, Ann Arbor, MI. Co-produced by Los Angeles Philharmonic, Gustavo Dudamel Music and Artistic Director. TRIPTYCH was co-commissioned by BAM; Luminato Festival, Toronto, Canada; Stavros Niarchos Foundation Cultural Center, Athens, Greece; Cincinnati Opera, Cincinnati, OH; Cal Performances, UC Berkeley, Berkeley, CA; Stanford Live, Stanford University, Stanford, CA; Adelaide Festival, Australia; John F. Kennedy Center for the Performing Arts for performance as part of DirectCurrent 2019; ArtsEmerson: World on Stage, Emerson College, Boston, MA; Texas Performing Arts, University of Texas at Austin, Austin, TX; Holland Festival, Amsterdam; Wexner Center for the Arts, Ohio State University, Columbus, OH; the Momentary, Bentonville, AR, Celebrity Series of Boston, MA, and resi- dency development through MASS MoCA, North Adams, MA. world premiere 5 March 2019, Los Angeles (concert version) 15 March 2019, Ann Arbor (theatrical version) websites Robert Mapplethorpe Bryce Dessner Korde Arrington Tuttle Roomful of Teeth ArKtype Asko|Schönberg

AMERICAN WEDDING

In america, I place my ring on your cock where it belongs. No horsemen bearing terror, no soldiers of doom will swoop in and sweep us apart. They’re too busy looting the land to watch us. They don’t know we need each other critically. They expect us to call in sick, watch television all night, die by our own hands. They don’t know we are becoming powerful. Every time we kiss we confirm the new world coming.

What the rose whispers before blooming I vow to you. I give you my heart, a safe house. I give you promises other than milk, honey, liberty. I assume you will always be a free man with a dream. In america, place your ring on my cock where it belongs. Long may we live to free this dream.

– Essex Hemphill, 1992 It is the Artist’s desire to permeate existence He does so by the power of his own presence And by will alone he breathes a work into art. As pumping air into a balloon, that when let go, permeates the sky.

He sees perfection in a leaf or another man’s psyche. He is a city of veins and lead; building and rebuilding the same chapel, the same marble stairway.

As one walks these stairs and looks around one notes a gallery of light wars. That is all. A ship dissolving into an atmosphere, into sea. And when night falls — the light as well. And all disappears into walls. No more luminous than a moon. Composed of love and will alone.

And the Artist does indeed love. In love with his own process. It reaffirms his mastery, his mystery. A testament of his own life force and also his gift to humanity.

Certain gifts are chosen and arranged in retrospect. The Artist machetes a clearance. Here one can be spared the pain and the extravagance of the entire body and be transported by snaking through a glittering fraction.

His gifts, his children, travel beyond the eye and hand that spun them into existence. A lifetime of work letting go of one who has weathered innocence. Pressed laurels upon intelligence All with the generosity of a transforming smile.

– Patti Smith, June 1988, from The Perfect Moment Triptych (Eyes of One on Another) by Frederike Berntsen

The very explicit homo-erotic pictures of Robert Mapplethorpe raised many a scandal in America. Times have changed. Nowadays all variations of pornography are for those interested only a mouse click away. In 2019 the view on homosexuality is completely different. Erwin Olaf, as a producer of homo-erotic photo material a disciple of Mapplethorpe, is a photographer of the Dutch royal family.

With Triptych (Eyes of One on Another) Bryce Dessner doesn’t want to fight a battle that has already been won. In the events of those days he sees a possibility to investigate beauty and love, erotism and art, freedom and persecution in a musical way. The perfor- mance, which Dessner creates with, among others, librettist Korde Arrington Tuttle and director Kaneza Schaal, incorporates poems of Patti Smith and Essex Hemphill. Smith met Mapplethorpe in the 1960s in New York, where they lived through an intense and tumultuous relationship. They were muses to each other. Hemphill on the other side was an outspoken critic of Mapplethorpe’s work and emphasized that the photographs of naked, black models (often without faces) objectified black men.

The title Triptych refers to three Mapplethorpe portfolios: X (images of gay S&M activity), Y (flower studies) and Z (nude portraits of black men), that are shown. The performance, with Mapplethorpe’s photographs projected hugely, has something mysterious in it, and makes the audience part of a radical, uncom- promising view of humanity, its body, feelings, pain and craving.

Composer Bryce Dessner explains: ‘My starting point with Triptych was very much centered in the classical beauty of Mapplethorpe’s work. He was inspired by Italian mannerism and I took a similar approach of adapting some of Monteverdi’s music into the show in a kind of re-imagined twisted setting of a madrigal which we hear throughout the show woven into various movements.

Mapplethorpe mixed the sacred and profane in such beautiful ways and the amazing singers of Roomful of Teeth allowed me to use in Triptych many different kinds of vocal techniques and sounds ranging from classical to gospel and folk . The instrumentation for the work is quite spare and minimal to leave room for the amazing virtuosity of the singers.

I was a teenager in Cincinnati when the Mapplethorpe obscenity trial took place and the police closed the Cincinnati Contemporary Art Center and put Dennis Barrie, the director, in jail. These were momentous events for the town and for the country and as a 14 year old I was very sensitive to the issues at work. So my initial interest in the work was very much based on personal experience of the censorship and scandal it provoked. Only later I was able to spend time with the work itself and to fall in love with the incredible beauty of the images. Through working on this project in collaboration with the Robert Mapplethorpe Foundation and archives at the Getty Center I was able to dis- cover so much more of what Robert saw and shot, his work is far more vast than most people know based only on certain famous or controversial images.

We do not have a thesis or a didactic message to give to the audience. We are asking questions about the photographs and the audience and the performers on stage. If anything, looking at these images now in 2019 is very different from how we might of seen them in 1978 or 1988 or even 2000. Above all the show inves- tigated how we see one another which gets at the heart of what Robert was working on.’ About the artists

Robert Mapplethorpe was born in 1946 in his creative efforts, broadened the scope Floral Park, Queens. In 1963, Mapplethorpe of his photographic inquiry, and accepted enrolled at Pratt Institute in nearby increasingly challenging commissions. Brooklyn, where he studied drawing, pain- The Whitney Museum of American Art ting, and sculpture. He also experimented mounted his first major American museum with mixed-media collages, using images retrospective in 1988, one year before his cut from books and magazines. In 1970, death in 1989. His vast, provocative, and he began producing his own photographs powerful body of work has established him to incorporate into the collages. In 1975, as one of the most important artists of the he acquired a Hasselblad camera and twentieth century. Today Mapplethorpe is began photographing his circle of friends represented by galleries in the Americas and acquaintances - artists, musicians, and Europe and his work can be found in celebrities, and the S & M underground. the collections of major museums around Throughout the 1980s, Mapplethorpe the world. Beyond the art historical and produced images that simultaneously social significance of his work, his legacy challenged and adhered to classical lives on through the work of the Robert aesthetic standards: stylized compositions Mapplethorpe Foundation. He established of male and female nudes, delicate flower the Foundation in 1988 to promote pho- still lifes, and studio portraits of artists and tography, support museums that exhibit celebrities. He introduced and refined dif- photographic art, and to fund medical ferent techniques and formats, including research in the fight against AIDS and HIV. photogravures, platinum prints on paper and linen, Cibachrome and dye transfer Bryce Dessner studied classical guitar at color prints. In 1986, he was diagnosed with Yale University. He and his twin brother AIDS. Despite his illness, he accelerated Aaron are the guitarists in the rock band is the founder and artistic director of the annual MusicNOW Festival for contempo- rary music in his hometown of Cincinnati, Ohio. He is also the founder of the impro- visational quartet Clogs. In January 2012, he performed the world premiere of ’s Death Speaks, together with , Shara Worden and . In 2016, Dessner’s Murder Ballads, released on the album Filament by Eighth Blackbird, won a Grammy Award in the category Best Chamber Music/Small Ensemble Performance. In 2015, he was asked to write the film score to Alejandro Iñárritu’s blockbuster The Revenant with Ryuichi Sakamoto and Alva Noto. In 2016 and 2017 the music was nominated for, respectively, a Golden Globe and a Grammy Award. In recent years Dessner’s work has featured The National. In recent years, Dessner has at the Holland Festival multiple times. His collaborated with some of the biggest production The Long Count – a performan- names from the indie pop and contempo- ce involving music and visuals – was revi- rary classical scene, such as , ved at the Holland Festival in 2011; in 2012, , the Kronos Quartet, Jonny he played his double concerto St. Carolyn Greenwood from Radiohead and Glenn by the Sea with Amsterdam Sinfonietta, Kotche, as well as visual artists Hiroshi and in 2016 the Kronos Quartet played his Sugimoto and Matthew Ritchie and cho- composition Aheym. reographer Justin Peck. His compositional style, which he describes as ‘micro mini- Korde Arrington Tuttle is a multidiscipli- malism’, is characterised by interwoven nary artist and playwright. He grew up layers of repeating patterns, but also in Charlotte, North Carolina and recei- draws on influences from and ved his MFA in Playwriting from The New composers such as Bartók and Messiaen. School in New York City. Tuttle’s recent Dessner has composed works on commis- work includes clarity (performed at the sion for the New York Guitar Festival, the 2016 The Fire This Time Festival and Bang on a Can All-Stars, the Los Angeles winner of the 2016 Samuel French Off-Off Philharmonic, the Ensemble intercon- Broadway Festival), the downside of being temporain, the Metropolitan Museum of a fish (presented at The New School’s Art, BAM Next Wave Festival, Edinburgh 2015 AfroFuturism Conference) and who is International Festival, Eighth Blackbird, burning black churches? (performed at The the New York City Ballet, and more. He 24-Hour Plays: Nationals, 2015). Tuttle’s has also written various pieces for the work has also been featured at the Ojai Kronos Quartet, such as Aheym in honour Playwrights Conference, the Roundabout of Steve Reich’s 75th birthday in 2009, Underground sessions organized by the and Tenebre for the Reich Festival at the Roundabout Theatre Company, New Barbican Centre in London in 2011. Bryce York Stage and Film, and the 48 Hours… the Genocide Memorial Amphitheater in Kigali, Rwanda; LMCC’s River-to-River Festival; Contemporary Arts Center New Orleans; Cairo International Contemporary Theater Festival in Egypt; and at her alma mater Wesleyan University, CT. Schaal’s

in Harlem event, held at The National Black Theatre. Tuttle has recently won a number of awards, including the Steinberg Playwriting Fellowship, the NYSAF’s 2018 Founders’ Award, the 2018 Falco/ Steinman Commission Award and the 2018 Playwrights Initiative Fellowship awarded by the Djerassi Resident Artists Program. work with The Wooster Group, Elevator He was also a finalist in both the Alliance/ Repair Service, Richard Maxwell/New York Kendeda National Graduate Playwriting City Players, Claude Wampler, Jim Findlay, Competition 2017 and the City Theatre and Dean Moss has brought her to venues National Award for Short Playwriting including Centre Pompidou, Royal Lyceum Contest. Tuttle is currently writer-in-resi- Theatre Edinburgh, The Whitney Museum, dence at the Lincoln Center and artist­- and MoMA. Schaal is an Arts-in-Education -in-residence at the Ars Nova theatre. His advocate and has collaborated nationally debut publication of a selection of haiku and internationally with recent teen immi- and photography, falling is the one thing i, grants and asylum seekers; on intergenera- was published by Candor Arts in May 2018. tional exchange between elders and teens; and on workshops and talks at Princeton Kaneza Schaal is an American, New University, Yale University, Emerson College York City based director, actress and and Wesleyan University, CT. theatre artist. Her recent work is Jack &. Schaal received many prizes, a 2018 Carlos Soto is a director, designer and Ford Foundation Art For Justice Bearing performer based in New York City. He Witness Award, 2017 MAP Fund Award, has presented performances at Columbia 2016 Creative Capital Award, 2008 University, the Guggenheim Museum, Princess Grace George C. Wolfe Award, Kampnagel Hamburg, Pace Gallery, Palais and was an Aetna New Voices Fellow de Tokyo, Performa 09; and has been at Hartford Stage. Her last project GO artist-in-residence at Willem de Kooning FORTH premiered at Performance Space Studio, Lower Manhattan Cultural Council, 122’s COIL Festival and then showed at New York Live Arts and The Watermill voice. The group meets every year at the Massachusetts Museum of Contemporary Art (MASS MoCA) to study non-Western vo- cal techniques with teachers from all over the world. The singing traditions they have delved into include , death metal grunting, Hindustani mu- sic, yodeling, Korean , Broadway belting, Persian classical singing, Georgian music and Sardinian cantu a tenore. Roomful of Teeth has worked with com- posers such as Rinde Eckert, Fred Hersch, Toby Twining, Missy Mazzoli, Julia Wolfe and Ted Hearne, and performed at venues such as the Lincoln Center, Merkin Hall, Center, among others. Soto has collabo- (Le) Poisson Rouge, the Carlsbad Music rated with American artist and director Festival in California and the MIT Sounding Robert Wilson since 1997 as a performer festival. The group also regularly gives and designer on numerous productions including Adam’s Passion, Einstein on the Beach, The Life and Death of Marina Abramovic (Holland Festival, 2012). Soto has collaborated with recording and performance artist Solange as associate director and costume designer on mul- tiple projects, including her multi-city concert tour, Cosmic Journey/Orion’s Rise; her performance work Scales at the Chinati Foundation in Marfa, TX; and Metatronia, a short film and installati- on-performance at the Hammer Museum, workshops and masterclasses at schools LA. In 2018 Soto designed costumes across the US. Their self-titled debut for Robert Wilson’s Oedipus Rex; cos- album, released in 2012, won a Grammy in tumes and sets for The Black Clown by the category Best Chamber Music/Small Davóne Tines, Michael Schachter and Ensemble Performance. In 2013, ensemble Zack Winokur at American Repertory member Caroline Shaw won a Pulitzer Prize Theater; UR by Sulayman al Bassam at for Music for Partita for 8 Voices, which is the Residenztheater, Munich; Mile-Long presented at this year’s Holland Festival as Opera, a collaboration with Anne Carson, well. Claudia Rankine, David Lang, Ragnar Kjartarsson, and Diller Scofidio + Renfro. Asko|Schönberg specialises in the perfor- mance of new music, with a repertoire of The vocal ensemble Roomful of Teeth was works from the 20th and 21st centuries, established in 2009 by singer and conduc- ranging from solo pieces to larger-scale tor Brad Wells with the goal of exploring works, both in concert settings and inter- the expressive potential of the human disciplinary productions. Collaboration between musicians and composers is a non-profit support structures resulting in key element of the ensemble’s work. In a new work for a variety of spaces. His work dynamic working process, they explore includes projects with Mikhail Baryshnikov, new musical and theatrical insights, techni- Peter Brook, Victoria Thiérrée-Chaplin, ques and formats. In addition to conductor Yael Farber, Daniel Fish, Annie-B Parson & Reinbert de Leeuw, Asko|Schönberg works Paul Lazar, Lisa Peterson, Kaneza Schaal, with guest directors such as Bas Wiegers Peter Sellars, Tony Taccone and Julie and Etienne Siebens. The repertoire ranges Taymor. For three seasons he produced from the major musical innovators of the Ringling International Arts Festival the 20th century to work by the current in Sarasota, Florida in partnership with generation of contemporary composers. Baryshnikov Arts Center, was Director of In addition to names such as Andriessen, Programming for Spiegelworld’s South Gubaidulina, Boulez, Kurtág and Ligeti, Street Seaport seasons, and most recently works by Van der Aa, Ruo, Tsoupaki and served as Director of Programs at New Van de Putte also regularly feature on the York Live Arts. Ongoing collaborations programming. The ensemble offers oppor- include 600 Highwaymen, Bryce Dessner, tunities to young talent by commissioning John Cameron Mitchell, Daniel Fish, new works from up-and-coming composers Kaneza Schaal & Christopher Myers, Aaron every year. Interdisciplinary projects also Landsman, Brent Green and others. form an important part of the ensemble’s activities. Each year, Asko|Schönberg teams up with the Noord Nederlands Toneel and Club Guy & Roni to create a multifaceted production that tours the whole country. Asko|Schönberg is the en- semble in residence at the Muziekgebouw in Amsterdam, has appeared on NTR ZaterdagMatinee on NPO Radio 4, at the Holland Festival and the Dutch National Opera and regularly takes part in co-pro- ductions with organisations and ensem- bles from the Netherlands and Europe. Asko|Schönberg performs at concert halls in the Netherlands and beyond and is a regular guest at festivals, with recent sea- sons taking them to Melbourne, London, Cologne, Zagreb, Paris, Los Angeles, New York and Jakarta.

ArKtype / Thomas O Kriegsmann is a management and production company specializing in new work development and touring. Over the past 13 years ArKtype’s work has grown to encompass renowned artists from thirty different countries, multiple genres and commercial and friends

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Holland Festival Piet Heinkade 5 1019 BR Amsterdam tel. +31 (0)20 – 788 21 00 [email protected] www.hollandfestival.nl text, translation Frederike Berntzen text editor Karen Welling design thonik lay-out Mark Drillich, Erna Theys photography scene photography © Baranova portraits: Robert Mapplethorpe: Self Portrait, 1988 © Robert Mapplethorpe Foundation. Used by permission Bryce Dessner © Graham MacIndoe Korde Arrington Tuttle © Pascal Gely Kaneza Schaal © Christopher Myers Carlos Soto © courtesy by the artist

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