1994 NEXT WAVE FESTIVAL

1994 NEXT WAVE COVER AND POSTER ARTIST ROBERT MOSKOWITZ NEDERLANDS DANS THEATER BAMBILL

BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer

presents in the BAM Opera House October 17, 1994, 7pm; October 18-22, 8pm and in the BAM Majestic Theater October 24-29, 8pm; October 30, 3pm NEIERLANIS IANS THEATER

Artistic Director: JIRI KYLIAN Managing Director: MICHAEL DE Roo Choreographers: JIRI KYLIAN & HANS VAN MANEN Musical Director: CHRISTOF ESCHER Executive Artistic Directors: GLENN EDGERTON (NDT1), GERALD TIBBS (NDT2), ARLETTE VAN BOVEN (NDT3) Assistants to the Artistic Directors: HEDDA TWIEHAUS (NDT 2) & GERARD LEMAITRE (NDT 3) Rehearsal Assistant to the Rehearsal/Video Director Artistic Director Director ROSLYN ANDERSON ULF ESSER HANS KNILL Company Organization Musical Coordinator/ Manager (NDT 2) (NDT1&3) Pianist CARMEN THOMAS CARINA DE GOEDEREN RAYMOND LANGEWEN Guest Choreographers (1994/95 season) MAURICE BEJART CHRISTOPHER BRUCE MARTHA CLARKE PATRICK DELCROIX WILLIAM FORSYTHE LIONEL HoCtIE PAUL LIGHTFOOT JENNIFER MULLER OHAD NAHARIN GIDEON OBARZANEK PHILIPPE TREHET PATRIZIA TUERLINGS Guest Teachers BENJAMIN HARKARVY (Guest teacher, North American tour) CHRISTINE ANTHONY KATHY BENNETS JEAN-PIERRE BONNEFOUX OLGA EVREINOFF IVAN KRAMAR IRINA MILOVAN JAN NUYTS ALPHONSE POULIN LAWRENCE RHODES MARIAN SARSTADT Technical Director Marketing & Publicity Joop CABOORT KEES KORSMAN & EVELINE VERSLUIS Costume Department Tour Management JOKE VISSER WANDA CREMERS Pianist Dance Fitness Therapist Chiropractor JAN SCHOUTEN DAVID McNAMARA ERIC STEGEMAN

Special support provided by European American Bank, ING Capital, The Netherland-America Foundation, The Harkness Foundations for Dance and Mid Atlantic Arts Foundation. PROGRAM NOTES

NEDERLANDSDANSTHEATERl

PROGRAM A PROGRAMB October 17, 7pm; October 20 - 22, 8pm October 18, 19, 8pm No More Play Kaguyahime Petite Mort Part One Sarabande - Intermission - Falling Angels Part Two - Intermission ­ Duration: 1 hour 35 minutes Whereabouts Unknown Duration: 2 hours 25 minutes

NEDERLANDSDANSTHEATER2 October 24, 25, 27, 8pm Un Ballo Two - Intermission ­ Petrol-Head Lover - Intermission ­ Stamping Ground Duration: 2 hours NEDERLANDS DANS THEATER 3 October 26, 28, 29, 8pm; October 30, 3pm Evergreens Double You (World Premiere) Off White - Intermission - No Sleep Till Dawn of Day Dammerung Susto Duration: 2 hours 13 minutes

Lighting equipment provided by BASH Theatrical Lighting. Freight transportation provided by Union-Transport Corporation. Hotel accommodations provided by Excelsior Hotel. The BAMGUIDE contains information about ticket sales, travel options, special offers and discounts, and all other services available at BAM. If you would like to receive a copy, please call (718) 636-4100, or pick one up at the box office. The design of the ties and scarves worn by the ushers has been generously donated by Isaac Mizrahi. These items are available for sale exclusively at the BAM Boutique. On the cover (clockwise from upper left): scenes from Whereabouts Unknown, Falling Angels and Susto. Portrait of Mr. Kylian by Joanne Savio. I PROGRAM NOTES

NEDERLANDS DANS THEATER 1 Female dancers Nancy Euverink Male dancers Martin Muller Carolina Armenta Karine Guizzo Urtzi Aranburu Dylan Newcomb Bregjevan Balen Susan Laraghy Zane Booker Mario Radacovsky Lorraine Blouin Sol Leon Patrick Delcroix Miguel Rodriquez Cora Bos-Kroese Fiona Lummis Ivan Dubreuil Ken Ossola Philippa Buckingham Brigitte Martin Glenn Edgerton Aryeh Weiner Miranda Coney Megumi Nakamura Jorma Elo Stefan Zeromski Tessa Cooke Paula Sanchez Johan Inger Lisa Drake Elke Schepers Paul Lightfoot

NEDERLANDS DANS THEATER 2 Female dancers Chisato Ohno Male dancers Sebastien Mari Shirley Esseboom Catherine Riesi Joe Kanamori Patrick Marin Yvonne Jakob Yvette Schipper Joeri de Korte Salvador Masclans Yolanda Martin Rei Watanabe Vaclav Kunes Fabrice Mazliah

NEDERLANDS DANS THEATER 3

Female dancers Male dancers Martine van Hamel Sabine Kupferberg Gary Chryst Gerard Lemaitre

TECHNICAL DEPARTMENT Technical Director Assistant Maintenance Joop Caboort Lucia Zuiderwijk Robert Streefland

Nederlands Dans Theater 1 Lighting Stage Sound Wardrobe Tom Bevoort (head) Johan Maarhuis Dick Heuff Ankie Arts Rudo Blok (stage manager) Patty den Boer Petra van der Doorn Joost Biegelaar Jolanda de Kleine Arie Pols Kees Tjebbes Edo de Wit

Nederlands Dans Theater 2 & 3 Lighting Stage Sound Wardrobe Henk Palmers (head) Ole Schaaff Richard Bron Helga Hoogstraten Koos Planken Koos Zwart Tina Tuit

BOARD OF DIRECTORS

Mr H. Bosma chairman K. Damen M. J. Drabbe Mrs. S. van Heemskerck Pillis-Duvekot I NDT 1 - PROGRAM A

KAGUYAHIME

A dance production by Jifi Kylian Music: Maki Ishii Choreography: Jirf Kylian Scenery and lighting: Michael Simon Costumes: Ferial Simon Premiere: 1 June 1988, Nederlands Dans Theater 1

THE LEGEND In the tenth century Japanese story Kaguyahime, a bamboo cutter discovers a tiny crea­ ture-a girl of radiant beauty-in a bamboo stem. Enchanted, he takes her home and raises her as his own daughter. She grows quickly into a young woman, and tales of her great beauty attract many suitors who try in vain to catch a glimpse of her. Five particular young men per­ sist. She sets each of them an impossible task. Their failure ensures that she remains untouched. The villagers hold a feast to celebrate the girl's coming of age and give her the name Kaguyahime-"she who shines through the night." The peace of the village is suddenly dis­ turbed by noblemen curious to see the famed beauty of Kaguyahime. Fighting breaks out between the villagers and the noblemen. The Emperor (Mikado) is informed of the increasing violence. In order to see for himself the cause of so much unrest amongst his people, he arranges to meet Kaguyahime. Moved by her beauty, the Emperor asks her to live at his palace. She refuses, and finally explains that she has been sent down from the moon to spend only a short time on earth. At the next full moon, Kaguyahime knows she must return. The Emperor refuses to accept this, and orders a guard of his men to prevent her escape. However, as the full moon rises, its light is so powerful that the Emperor and his guards are blinded, thus enabling Kaguyahime to ascend, unharmed, back to the moon. -a synopsis by Fiona Lummis

ABOUT THE PRODUCTION The moment I became acquainted with the legend of Kaguyahime I could not resist its fan­ tastic and timeless reality, which only exists in legends and myths. Naturally, at once I felt confronted with the essential problem of how-or whether at all-legends can be transposed into another culture. However, I was encouraged by the fact that traces of some basic sources of wisdom and knowledge are common to many cultures-like invisible roots which some­ where underground entangle and meet one another. Whenever a choreographic idea is confronted with a literary subject, unorthodox solutions become almost inevitable. Dance and literature are too different to become a substitute for each other. Accepting these incongruities as a worthwhile challenge and very special learning process, we soon realized that a confinement to simple means would lead us to desirable solutions. We decided to make use of existing devices and general theatre equipment (pipes, bars, plastic floor, make-up boxes, mirrors etc.). By assigning them a different function they attained a new meaning-and so were transformed into surrealistic images. Bearing a sense of duality now, these objects created the "magical" space we had intended, encompassing the opposing ele­ ments: literary subject and choreographic idiom, European and Asian cultures. It also provid­ ed a solution to our attempt to melt the four main components (music, dance, stage and light) into one organic body, telling a story conceived some 1000 years ago somewhere in Asia. -Jifi Kylidn Kaguyahime by Maki Ishii, used by arrangement with European American Music Distributors Corporation, sole U.S. and Canadian agent for Moeck Verlag, publisher and copyright owner. I NDT 1 - PROGRAM B

NO MORE PLAY

Choreography by Jirf Kylian Music: Anton Webern: Five pieces for string quartet, opus 5 Scenery: Jiff Kylian Costumes: Jirf Kylian Lighting: JooP Caboort Premiere: 24 November 1988, Nededands Dans Theater 1

The basic idea for this choreography is inspired by a small sculpture of Alberto Giacometti: a simple, slightly deformed board-game with little craters and ditches and two pieces of wood resembling human figures. One might feel like having been invited to a game, the rules of which are being kept secret, or have never been determined. But as you begin to play this mysterious game, you start to learn its laws-only sometimes too late. Anton Webern's music has a fascinating feeling of essentiality and inevitability. Its sound and structure create captivating transparency and dynamic tension. These qualities assembled by Webern's uncompromising genius become a source of energy which has a direct influence on anything that might be simultaneously happening on stage. The seriousness of much of what we set out to undertake, often results in no more than a grotesque grimace, but it should be accepted as such, and become a valid part of our being. So this choreographic play of bod­ ies, mind, sound and light in time and space is merely a metaphor of a game with extremely severe rules, which someone wrote in a long forgotten language. -Jift Kylidn

Five pieces for string quartet, opus 5 by Anton Webern, used by arrangement with European American Music Distributors Courporation, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

PETITE MORT

Choreography by Jiff Kylian Music: Wolfgang Amadeus Mozart: Piano Concerto in A Major (KV 488), Adagio; Piano Concerto in C Major (KV 467), Andante Costumes: Joke Visser Lighting: JooP Caboort Premiere: 23 August 1991, Nederlartds Dans Theater 1 (Salzburger Festspiele)

Jiff Kylian created this ballet especially for the Salzburg Festival on the second centenary of Mozart's death. For his work he chose tne slow parts of two of Mozart's most beautiful and popular piano concertos. "This deliberate choice should not be seen as a provocation or thoughtlessness-rather as my way to acknowledge the fact that I am living and working as part of a world where nothing is sacred, where brutality and arbitrariness are common places. It should convey the idea of two antique torsos, heads and limbs cut off-evidence of intended mutilation-without being able to destroy their beauty, reflecting the spiritual power of their creator." The choreography includes six men, six women and six foils. The foils have the function to be actual dance partners, and at times seem more unruly and obstinate than a partner of flesh and blood. They visualize a symbolism which is more present than a story line. Aggression, sexuality, energy, silence, cultivated senselessness, and vulnerability-they all playa significant part. Petite mort, literally meaning "small death," serves as a paraphrase for orgasm in French and Arabic. I NDT 1 - PROGRAM B

SARABANDE

Choreography by Jifi Kylian Music: Johann Sebastian Bach: Partita No.2 in D minor Sarabande (BWV 1004) Electronic processing: Dick Heuff Costumes: Joke Visser Lighting: JooP Caboort Premiere: 13 September 1990, Nederlands Dans Theater 1

On the background of Bach's Sarabande, Jifi Kylian is continuing his search for basic answers to a basic question of children: "Why? ..." Simple structures, banal situations, visions of dreamlike episodes, flashbacks, fractured motorics of dance and pantomime; they all are ingredients of this choreographic "cookery" and ensure that the question will never be answered. Kylian has conceived Sarabande-like a number of his later works-as "a venture by means of choreography." It is fundamentally related to No More Play, Falling Angels and Sweet Dreams-as a black and white sketch to be completed and colored in the mind and fan­ tasy of the observer. And, although the starting point is of clear intellectual nature, the result itself is determined by emotional energies. Bach's music, with its perfect structure and divine vision, is not interpreted-does not need any interpretation. As for this ballet, the contrast between music and dancing/sounds provides a voluptuous playground for human relations and instincts.

FALLING ANGELS

Choreography by Jifi Kylian Music: Steve Reich Drumming / part I Costumes: Joke Visser Lighting: JooP Caboort Premiere: 23 November 1989, Nederlands Dans Theater 1

For Jirt Kylian, the fascinating aspect of Reich's composition lies in its rhythmical struc­ ture-especially in the stylistic device called phasing. It creates a floating underground where the choreography is free to develop independently. Whereas Kylian customarily considers music as the primary source for his choreographies -meaning that he sets his work on an existing musical structure-with Drumming he felt challenged to give unabridged priority to the dance. The result became an exciting and head­ on flight of eight female dancers: Falling Angels-"a piece about our profession," as the choreographer likes to comment on it.

Drumming / part I by Steve Reich, used by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner.

- Intermission -

_I NDT 1 - PROGRAM B

WHEREABOUTS UNKNOWN

Choreography by Jir! Kylian Music: Arvo Part: Fratres (for string orchestra and percussion); Anton Webern: Funf Stucke fur Orchester; Arvo Part: Perpetuum Mobile; Steve Reich: The Four Sections part IV; Charles Ives: The Unanswered Question; Michael de Roo: Orignang (interludes) Scenery and lighting: Michael Simon Costumes: Joke Visser Premiere: 1 June 1993, Nederlands Dans Theater 1

There is a line in my work which always traces back to the "whereabouts" of our exis­ tence. Dances of the Australian Aborigines or rhythms, rituals, masks of African people-the point of my interest is the same: it is the traces old civilizations have left. Artifacts, materials, traditions speak by themselves, show the way back into a living past. The attempt is to jour­ ney into their world to discover our world-by trying to read the controversial messages of the conscious and unconscious, the visible and hidden, to uncover those above and those under the ground. Whereabouts Unknown originates from this curiosity which-as fundamental as it is-can only reveal glimpses of the vast and complex layers of life. -Jifi Kylian CIRCLE PERCUSSION In 1973 percussionist Michael de Roo founded Circle Ensemble. The ensemble was named after the first piece that they performed: Circles, by Italian composer Luciano Berio. Their ren­ dition of Circles won them a prize at the International Gaudeamus concours in 1974, thus set­ ting the standard by which this new ensemble was to make its reputation: high quality perfor­ mances of contemporary music, centered on percussion and with a specific focus on 20th-cen­ tury chamber music, music theatre and dance. In the following years the ensemble travelled extensively, giving performances and work­ ing together with fellow musicians and composers such as Keiko Abe and Ernest Bour. During this period the working relationship with the Nederlands Dans Theater was established through the Glenn Tetley choreography of Circles. Of great importance was the ensemble's acquaintance with Japanese Percussion, which led to the first performance ever to be given by a non-Japanese group on Japanese instruments at the Holland Festival 1983. In 1984 they organized a tour with KODO in which both groups highlighted the unique and specific qualities of both Western and Japanese Percussion. In 1987 Circle Ensemble, which by then had been re-named Circle Percussion, made a five week tour of Japan on invitation of the Tokyo Summer Festival. Their performances of composi­ tions by Frank Zappa, George Antheil, Edgar Varese and Ton de Leeuw were received with great enthusiasm and great critical acclaim by Japanese audiences and the press.

Western Percussion: Luuk Nagtegaal, Jacob Goud, Arthur Cune, Fredrike de Winter, Ferry Vogelaar, Victor Oskam, Niels van Hoorn, Murk Jiskoot. Japanese Percussion: Hans Zonderop, Jaap Pluygers, Janwillem van der Poll, John May, Marcel Andriessen, Frank Wardenier, Erwin Oudshoorn, Gijsbert Zwart. Managing Director: Christiaan de Roo

The Four Sections, part IV by Steve Reich, used by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner. Fratres and Perpetuum Mobile by Arvo Part, and Funf Stucke fur Orchester by Anton Webern, used by arrange­ ment with European American Music Distributors Corporation, sole u.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. I NDT 2

UN BALLO

Choreography by Jitf Kylian Music: Maurice Ravel: Le tombeau de couperin/minuet; Pavane pour une infante defunte Scenery: Jiff Kylian Costumes: Joke Visser Lighting: JooP Caboort Premiere: 17 January 1991, Nederlands Dans Theater 2

With Un Ballo, Jitf Kylian for the first time created a work for and on the group of the company's young dancers (NDT 2). The title may be understood in the traditional connotation of a social event or literally translated - it is not the choreographer's intention to have the spec­ tator search for deep or symbolical contents. Kylian describes his choreography as "a dance to music, nothing more." He considers it an exercise in musicality and sensitivity between male and female partners. Un Ballo may be regarded as the choreographer's tribute to the young dancers who com­ plement the work with youthful exuberance and unique sensitivity.

TWO

Choreography by Hans van Manen Music: Ferruccio Busoni: Berceuse elegiaque opus 42 (1909) in the version for symphony orchestra Scenery and costumes: Keso Dekker Lighting: JooP Caboort Premiere: 18 October 1990, Nederlands Dans Theater 1; 11 November 1994, Nederlands Dans Theater 2

After creating many duets as part of larger works, with Two Hans van Manen has once again choreographed an independent ballet-for-two. The last one-Sarcasmen (Pianovariaties II)-was created eight years ago. Since 1990, he has made five pas de deux. Apart from Two, the others are Theme, Andante, Evergreens and Different Partners. Van Manen's renewed interest in the duet must stem from the compelling nature of this form. The title itself, Two, immediately indicates the limitation that Van Manen set for himself. Two came into being in a most unusual manner for Van Manen. Instead of counting out the music first, he started working straIght away with the dancers in the studio. As he choreo­ graphed he wanted to be inspired directly and intuitively by Busoni's music. In Two, two part­ ners find support and counterbalance-both literally and figuratively-in each other. Their relationship is characterized by respect and acceptance, and a resignation to one's fate also plays a part. In 1991 Hans van Manen received the Choreography Prize from the VSCD (United Theatre Directions of the Netherlands) for this work, and was awarded the Sonia Gaskell Prize for three duets: Two, Theme and Andante.

- Intermission -

I NDT 2

PETROL-HEAD LOVER

Choreography by Gideon Obarzanek Music: collage Scenery: Gideon Obarzanek Costumes: Asalia Khadje (concept Gideon Obarzanek) Lighting: JooP Caboort Premiere: 11 November 1993, Nederlands Dans Theater 2

Petrol-Head Lover is made for two women and three men. Obarzanek calls it a piece which reflects his inspiration of pop-art folklore. This is visible in his use of cartoon-like ele­ ments; bumpercars serving as tu-tu's and helicopters with roaring colors of light fly in the air. The dancers, caught in this chaotic city-life image, breakdance to the heavy-set music. Towards the end, the music as well as the movement slow down so that an image arises which beautifully reflects the more intimate side of human nature which is so often lost in such a hec­ tic and fast-paced city-life.

- Intermission -

STAMPING GROUND

Choreography by Jirt Kylian Music: Carlos Chavez: Toccata para instrumentos de percusi6n Scenery: Jifi Kylian Costumes: Heidi de Raad Lighting: JooP Caboort Premiere: 17 February 1983, Nederlands Dans Theater 1; 5 November 1992, Nederlands Dans Theater 2

The Australian Aboriginals are the only remaining people of a stone age culture, left undis­ turbed by the accident of geography for some 50,000 years. The first intrusion upon them began little more than two hundred years ago. And even since then, geography has helped to preserve much of their way of life, because their vast continent offered an almost limitless retreat. So, for the anthropologist they hold a key to our distant past. And for the dancer too, because their understanding of the infinitely wide world in which they lived was always most potently expressed in dance of unique significance. That dance, which is at the centre of their life, and in which every gradation of movement had a descriptive and intended meaning, is now in decline. But it may still be glimpsed in the reserved areas of the country where tribal life continues. Kylian says he has always had "a particular admiration for Aboriginal dance, because of its beauty, reality, expressiveness and importance in life and society." And in 1980, he was invited to a gathering called by the tribes in the remaining tribal lands of Northern Australia, the purpose of which was to record whatever has remained of it before it will be lost in the inevitable social changes of the twenty-first century. This work is one of the consequences of that visit and of his opportunity to study the extraordinary techniques of Aboriginal dance. Kylian makes no attempt here to reproduce the rites of this dance. This indeed would not be tolerated because the dance itself is regarded as a personal possession of the dancer, which, if used by another, would be both theft and sacrilege. Instead, he has attempted to devise a new vocabulary of his own in parallel with their concepts. Stamping Ground was developed in close collaboration with each individual dancer, making use of their specific personalities and their instincts in relation to time, space and to each other. "The dancers," Kylian says, "should discover and materialize with a touch of self-mockery, the animal within themselves." -Christian Harvey I NDT 3

EVERGREENS

Choreography by Hans van Manen Music: Camille Saint-Saens: Le Cygne from Carnaval des animaux; J. Peyronnin: Reine de Musette; Heitor Villa-Lobos: Bachianas Brasileiras No.5 Lighting: JooP Caboort Costumes: Keso Dekker Premiere: 8 November 1991, Nederlands Dans Theater 3

Dancers: Sabine Kupferberg, Gerard Lemaitre

With the creation of his duet Evergreens in November 1991, Hans van Manen directly touched the essence of NDT 3: making use of the unique qualities of the mature dancer. Evergreens, created on and performed by Sabine Kupferberg and Gerard Lemaitre, ironi­ cally sketches the endless struggle between man and woman.

DOUBLE YOU

Music: Johann Sebastian Bach: Partita no. 4 in D-major (BWV 828) Allemande Scenery: Jifi Kylian Costumes: Joke Visser Lighting: JooP Caboort (concept Jit! Kylian) World Premiere: Brooklyn Academy of Music, 26 October 1994, Nederlands Dans Theater 3

Dancer: Gary Chryst wabble warrant weapon wet who wine woman worth wake was weary wheel whole wing womb would walk weather when whore winter wonder wound wait wash weave what whose WIse wrestle wall waist wedding where why wish word wriggle waltz watch weed whether wig witch work wrinkle water weep which wild world wrist wane wave weird while WIn with write war whisper without worm wrong warlock we welcome white wind witness worry warning week well window wizard worse

OFF WHITE

Choreography by Ohad Naharin Music: Johann Strauss (Sohn), arrangement Arnold Schonberg: Rosen aus dem Siiden, opus 388 Scenery: Arik Levy Lighting: Ohad Naharin Costumes: Joke Visser (concept Ohad Naharin) Premiere: 26 November 1992, Nederlands Dans Theater 3

Dancers: Sabine Kupferberg, Gary Chryst

Music by arrangement with Belmont Music Publishers.

- Intermission - I NDT 3

NO SLEEP TILL DAWN OF DAY

Choreography by Jitf Kylian Music: Lullaby (Solomon Islands) Scenery: Jiff Kylian Costumes: Joke Visser (concept Jiff Kylian) Lighting: JooP Caboort (concept Jiff Kylian) Premiere: 26 November 1992, Nederlands Dans Theater 3

Dancers: Martine van Hamel, Sabine Kupferberg

In a lullaby song from Savo (Solomon Islands) a woman comforts her baby not to cry or to be afraid, although she has neither arms to carry nor legs to stroll. The islands of the South Sea are some of the most remote places on this earth which hold a key to the understanding of our ancestry-places where man is still in close touch with his natural surroundings and total­ ly dependent on them-places far enough from us to preserve some of the essential aspects of human existence, but not far enough not to be abused by experiments with weapons of mass destruction. This dichotomy-this schizophrenic compulsion to preserve and to destroy­ seems to be part of our nature. No Sleep till Dawn ofDay may be conceived as an attempt to search for common roots, for a subconscious network which links our fate-however distant we are. -JifiKylidn

DAMMERUNG

Choreography by Martha Clarke Music: Alban Berg: from Vier Lieder, opus 2 - Dem Schmerz sein Recht from Sieben fruhe Lieder - Traumgekront, Schilflied, Nacht Scenery and costumes: Bob Israel Lighting: JooP Caboort Premiere: 16 April 1993, Nederlands Dans Theater 3

Dancers: Gary Chryst, Martine van Hamel

SUSTO

Choreography by Paul Lightfoot Music: Ludwig van Beethoven: Symphony No.5 in C minor, opus 67, first movement Costumes: Sol Leon Scenery: Paul Lightfoot Lighting: JooP Caboort Premiere: 4 March 1994, Nederlands Dans Theater 3

Dancers: Martine van Hamel, Sabine Kupferberg, Gary Chryst, Gerard Lemaitre

Using the great music of Beethoven, and the peculiar circumstances of this piece, Susto all adds up in a totally unpredictable way to a message which can only be transmitted by these four people through dance. Time is one of the biggest Susto"'s of life. 1- WHO'S WHO

JIRI KYLIAN (Artistic Director and Circle Ensemble for the production of Circles Choreographer), born in Prague in 1947, by Luciano Berio. The Circle Ensemble later started his dance training at nine years old at expanded to the present-day House of the Prague National Theatre's ballet school. Circles. With its three sections -Circle From the age of 15 he studied at the Prague Percussion, Contemporary Circles and Circle Conservatory. In 1967 Kylian went to the Theatre-a total of 127 performances were Royal Ballet School in London. Here he came given last season. House of Circles works into contact with the most important devel­ without a structural subsidy. opments in choreography-ballet as well as Michael de Roo is also a composer and contemporary dance. Consequently John conductor. He has composed for the choreo­ Cranko, director of the Stuttgart Ballet, graphers Kei Takei, Kim van der Boon and offered him a dancer's contract and encour­ Paul Lightfoot, as well as for theater and aged his ambition to create dance works. opera. As a conductor de Roo has worked Following a call by NDT, Kylian became with many ensembles in performances for responsible for the company's artistic policy NDT. In January 1992 Michael de Roo in 1975. 1978 brought a decisive break­ became the Managing Director of NDT. through with Sinfonietta, his choreography to the music of compatriot Leos Janacek at HANS VAN MANEN (Choreographer) the Spoleto Festival in Charleston SC. The began his career in 1951 with Sonia Gaskell's ensuing years established Kylian's reputation Ballet Recital. In 1952 he joined the as an ingenious choreographer, with dance Nederlandse Opera Ballet where he created works such as Symphony ofPsalms, his first ballet, Feestgericht, in 1957. He later Forgotten Land, Overgrown Path, Svadebka, joined Roland Petit's company in Paris. He Stamping Ground and I'Enfant et les sor­ began to work with NDT in 1960 as dancer tileges. and choreographer and later as Artistic Since the mid 80's Kylian has turned Director. In 1973 he was appointed toward abstraction and surrealistic images, Choreographer! Regisseur to Het Nationale as seen in his"Black and White Program," Ballet in Amsterdam. He has staged his bal­ with works such as No More Play, Petite lets for major companies around the world. Mort, Sarabande, Falling Angels, Sweet In 1988 Van Manen rejoined NDT as Dreams, Whereabouts Unknown, or Resident Choreographer, where he has creat­ Kaguyahime. Kylian's choreographies defy ed over 40 choreographies. He was knighted academic categorization, blending elements by the Queen of The Netherlands on his 35th of many sources. There are always new inspi­ anniversary as a choreographer. He is also a rations to be explored, new challenges and photographer whose work is seen in exhibi­ boundaries to overcome. In his work, pro­ tions around the world. Last season van foundly based on musical reading, there is Manen was awarded the 1993 German Dance something that deeply penetrates into the Prize for his influence on German dance over mystery of the human being itself, unveiling the past 20 years. hidden traces through dance. MARTHA CLARKE (Choreographer) was a MICHAEL DE ROO (Managing Director) founding member of Pilobolus Dance born in The Hague in 1949, studied percus- Theater, and then created Crowsnest with sion at the Royal Conservatory. From 1970 Felix Blaska. Her choreography has been per- to 1980 he was a timpanist with the formed by NDT, The Joffrey Ballet, American Nederlands Ballet Orchestra. Since then he Ballet Theater, Rambert Dance Company and has specialized in modern chamber music, Baryschnikov's White Oak Project. She has and has taught percussion at the created several productions for Music Theater Conservatory of Utrecht and The Hague and Group, including A Metamorphosis in at Tokyo's Toho Gakuen School. Miniature, The Garden ofEarthly Delights, In 1972, Michael de Roo established the Vienna Lusthaus and The Hunger Artist. I WHO'S WHO

Endangered Species was created for the film festivals. Obarzanek's subsequent works Music Theater Group and BAM in 1990. For for Australian ballet companies include Sleep Glimmerglass Opera she directed The Magic No More, Send Siren, Play Dead, While Flute and Cosi Fan Tutte. Ms. Clarke collab­ You're Down There, and Saccharin Suite. In orates with Christopher Hampton on Alice's 1993 Obarzanek created Slow Me Up for Adventures Underground, opening in London Israel's Kibbutz Contemporary Dance in November. Company. In 1993 he created Petrol-Head Lover for NDT 2. His next work for NDT 2 PAUL LIGHTFOOT (Choreographer), born will be premiered in January 1995. in Kingsley, England in 1966, trained at the Royal Ballet School in London before joining GLENN EDGERTON (Executive Artistic NDT 2 in 1985. After two years he moved on Director, NDT 1), born in Orange, Texas in to join NDT 1. Lightfoot's choreographic tal­ 1960, first trained with Mary Alice Callahan ent became apparent during workshops. In at the Ingram School of Dance. In 1978 he 1989 he created The Bard ofAvon, his first joined the Joffrey II Dancers, then in 1980 choreography for NDT 2, followed by Step joined The Joffrey Ballet for nine years. With Lightly in 1991. In 1992 he created Seconds The Joffrey he danced many principal roles, for NDT 1, followed by Sigue in 1993. including Romeo in Cranko's Romeo and Recently Lightfoot created Solitaire for NDT Juliet, and was cast in every Kylian work in 2 and Susto for NDT 3. the company's repertoire. In 1989 he joined NDT, and for the past five years he has OHAD NAHARIN (Choreographer), born in danced all of the company's repertoire. Israel, began his training with the Batsheva Named Executive Artistic Director of NDT 1 Dance Company, and studied dance at The in 1994, Glenn Edgerton will give his last Juilliard School. After performing with major performance in October of this year, during dance companies in Europe and the U.S., . the American tour. Naharin made his choreographic debut in 1980. In 1990 he was appointed Artistic GERALD TIBBS (Executive Artistic Director, Director of the Batsheva Dance Company. NDT 2) was born in Richmond, Virginia. At NDT invited Naharin to be Guest the age of 19, he attended the North Carolina Choreographer in 1993, and his works for School of the Arts, where he eventually the company include Chameleon Dances, enrolled in the dance department, later join­ Tabula Rasa, Queens of Golub, Sinking of ing the North Carolina School Company for the Titanic, Black Milk and excerpts of Kyr two years. Then he went to New York to and Perpetuum. For NDT 2 he restaged train with David Howard. In 1975 he joined Innostress and created Passomezzo, and for NDT and has danced with this company for NDT 3 he created Off White. Naharin's the last 15 years. In 1990 Tibbs was appoint­ works are performed by many major compa­ ed Executive Artistic Director of NDT 2. nies. In April 1995 his company will perfor~ at the Het Muziektheater in Amsterdam. ARLETTE VAN BOVEN (Executive Artistic Director, NDT 3), born in Antwerp, Belgium, GIDEON OBARZANEK (Choreographer), received her dance education in Antwerp, born in 1966, graduated from the Australian Brussels, Paris and London. Her dance career Ballet School in 1987, joining the Queensland began at the Antwerp Opera Ballet (now the Ballet and then the Sydney Dance Company. Royal Ballet of Flanders), followed by the He choreographed Drift Office for the Ballet of the XXth Century and the Royal Queensland Ballet's workshop in 1988, and Ballet Touring Company. In 1969 van Boven in 1990 created Mr. Crowther and the joined NDT, where she danced all of the Wallflower for the Australasian Dance company's repertoire. From 1981 until 1990 Studies Association Conference. His award- Arlette van Boven directed NDT 2. She has winning film of that work was seen in several_Ialso staged Kylian works for companies all WHO'S WHO over the world. Arlette van Boven was able to engender enthusiasm and loyalty from appointed Executive Artistic Director of NDT everyone associated with the organization, 3 in 1994. resulted in a company unique in its formation and accomplishments. NEDERLANDS DANS THEATER was Nederlands Dans Theater is now unique established in 1959 when a group of 18 mem­ in being three companies in one: NDT 1, the bers of the former Het Nederlands Ballet main company of 32 dancers; NDT 2, a (Ballet of the Nederlands) broke away from group of 12 young dancers up to the age of the traditionally oriented company. Around 21 and with its own repertory; and NDT 3, a Benjamin Harkarvy (Ballet Master and small group of dancers of 40 plus years who Artistic Director) and Carel Mirnie are able to bring all their accumulated experi­ (Managing Director), the new group was ded­ ence and expertise to a repertory devised to icated to the exploration of new forms of exploit their theatrical presence. Thus NDT, dance, using new techniques and open to new as a three-in-one entity, is able to present to ideas and experimentation. its audiences the whole working life-span of The first few years were hard, without its artists. In 1995, in celebration of Kylian's any official financial support, without studios 20th anniversary as director of the company, and, initially, without a regular audience. he will be creating a work that combines the Even so, the company's persistence with pro­ multiplicity of talents that make up all three grammes of artistic exploration soon won groups. admiration for, and recognition of, its The three companies are also unique in achievements. With Harkarvy and Hans van not being based on a hierarchy: there are no Manen as Resident Choreographers, other echelons such as corps de ballet, coryphees, distinguished choreographers-including soloists and principals; all the dancers are of Americans Anna Sokolow and Glen Tetley­ equal status. Finally NDT is unique in having created a challenging repertory for the com­ its own state-of-the-art theater in The Hague, pany which during the 60's was accepted as with a magnificent stage, five studios and the most innovative and exciting dance group every necessary facility, perhaps the only the­ in Europe. ater in the world specifically created for When Harkarvy and van Manen left the dance. company at the beginning of the 70's, NDT Although Kylian has created almost 50 entered into a period of uncertainty and tran­ works for the company, he has wisely extend­ sition, culminating in 1975 with the appoint­ ed the repertory with works by several of the ment of Jifi Kylian-initially co-directing world's most renowned choreographers, and with Hans Knill-as Artistic Director. This in 1988 Hans van Manen returned to the appointment has proved, over nearly 20 company as Resident Choreographer. All the years, one of exceptional prescience and pro­ dancers in the company are classically gressive success. trained, as only with the daily practice of this Kylian was born in Prague in 1947, and most elaborate and precise discipline can they his training included classical ballet, folk maintain the flexibility and stamina demand­ dance and the modern technique of Martha ed of them. Graham. In 1967 he won a scholarship to the Under Jifi Kylian's visionary direction, Royal Ballet School in London, and a year the last 20 years of NDT have seen a continu­ later was invited by John Cranko to join his ous progression to a point of international company in Stuttgart, where, while perform­ pre-eminence, true to the original precepts ing as a dancer, he began to develop his talent propounded by Harkarvy, Birnie and their as a choreographer. When appointed Artistic group in 1959. And, with its director still a Director of NDT he was only 28, an extraor­ relatively young man, there is every reason to dinarily young age at which to shoulder such believe that NDT will advance into the 21st responsibilities. But his great abilities, not century with the same questing exploration of only as a choreographer but also as an artist the art which sustains it. I