羅薩絲舞蹈團 Rosas
除特別註明，所有照片
Unless otherwise indicated, all photographs © Herman Sorgeloos
藝術總監／編舞
安．德麗莎．迪．姬爾斯美嘉 Artistic Director and Choreographer Anne Teresa De Keersmaeker
編舞及舞團介紹 Choreographer and Company Profile
7.3.2006 《雨》Rain
特稿 Feature
10 - 11.3.2006
《雨季的愁思》／《愛之極至》 Raga for the Rainy Season / A Love Supreme
特稿 Feature
舞者介紹 Dancers Biographies
創作人員介紹 Creative Team Biographies
舞團成員 The Company
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為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙 ，多謝合作。
To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.
姬爾斯美嘉 與羅薩絲舞蹈團
文：杜明尼克．范貝斯安
1980 年代初，當時的藝術氣氛令舞蹈備受 注目，年僅二十的安．德麗莎．迪．姬爾 斯美嘉初試啼聲，發表了自己的作品《艾 殊》。曾於莫里斯．貝撒創辦的舞蹈學校 MUDRA 進修的姬爾斯美嘉，使佛蘭德的 舞蹈走上了全新的道路。
1981 年，姬爾斯美嘉赴紐約大學帝什藝術 學院進修，親身接觸到美國的後現代舞 蹈。1982年她的第二部作品《階段 據史 提夫．萊克的音樂而作的四個樂章》大受歡 迎，其中美國後現代舞的影響甚為明顯。
1983 年，姬爾斯美嘉成立了自己的舞蹈團 羅薩絲舞蹈團，發表作品《羅薩絲之 舞》。蒂埃利．迪邁和彼得．弗米爾茨為編 舞而作的音樂，再次成為舞蹈背後的動 力。舞蹈與音樂這種特殊關係，後來經常 出現在姬爾斯美嘉的作品况。
1988 年她首個大舞台舞蹈作品《鄂圖．鄂 圖》，前作那種繃緊勁兒消失了，代之而來 的是一種新美學觀念，充滿獨特的巴羅克 感覺。 1990 年姬爾斯美嘉創作了《絲蒂娜》 和《腹地》，用的是里格第和伊薩伊的音 樂，並現場演奏，還特意將樂師放到台 上，與舞者的調度結合起來。
1992 年羅薩絲舞蹈團成為布魯賽爾的比利 時國家歌劇院（拉蒙尼劇院）駐院舞團。姬 爾斯美嘉在這新環境况定下三個目標： 一、加強舞蹈和音樂的緊密連繫；二、成 立舞團的保留舞目；三、在比利時創辦新 的舞蹈學校，以填補 1988 年 MUDRA 搬離 布魯塞爾而留下的空隙。
這時姬爾斯美嘉之作品備受國內外觀眾賞 識。 1992 年，她的《莫扎特 / 音樂會詠嘆調
快樂的泉源》在法國阿維儂藝術節著名 的中庭首演。同年彼得．格里納韋拍成《羅 薩》，片中舞蹈特別為電影而編。 1993 年 的荷蘭藝術節，舞蹈部份定為姬爾斯美嘉 專輯，除了重演她的數個作品，也首演了 她的《托卡塔》。
1994 年的《忠貞之愛超越死亡》是姬爾斯美 嘉舞蹈創作的分水嶺。她從一套為配合自 己身體而設計的舞蹈語言，發展出一種與 特定舞者密不可分的表達方式。這作品優 勝之處，在於強烈的個人特色跟嚴謹有力 的結構相輔相成。隨着舞團規模擴充，姬 爾斯美嘉的編舞語言也愈發奠基於古典傳 統，展現出極度規矩劃一的舞蹈語言。
1995 年，羅薩絲舞蹈團和拉蒙尼劇院合辦 了舞蹈學校 P.A.R.T.S.（布魯塞爾歐洲現代 舞蹈學校演藝研究及訓練工作室），由姬爾 斯美嘉任總監。學員在四年制課程中接受 各種主要舞蹈技巧訓練。學校同時也很注 重音樂和戲劇，希望為學員打下堅實的知 識基礎。
1997 年底，姬爾斯美嘉再把自己對音樂的 熱愛，淋漓盡致的表現在《剛剛》一舞，其 中包括了明格斯．林伯格、約翰．凱治， 亞尼斯．克賽納基斯、史提夫．萊克、皮 埃爾．巴托洛梅和蒂埃利．迪邁的作品。
《剛剛》是姬爾斯美嘉首個重要階段，探索 如何結合文字和舞蹈、感覺和運動、語言 和身體等。她的妹妹喬蘭特是 Tg STAN 劇 團的成員，也協助編排此舞。
接下來又有三個重要作品：1999年3月，羅 薩絲舞蹈團的一個女舞者和 Tg STAN 劇團 一名演員合演了海納．穆勒的《四人組》。
同年5月姬爾斯美嘉編了《我說我》，通過彼 得．漢克的文本《自我控訴》，更深入探討
文字和動作的關係。姬爾斯美嘉在這方面 的探索成果，盡顯在 2000 年的《真實時間》 况，她這個大型製作，把舞蹈團的舞者、
Tg STAN 劇團的演員和爵士樂隊「又名月 亮」的樂師，都放到在台上，盡展所長。
2001 年，姬爾斯美嘉回頭創作純舞蹈 《雨》，配以史提夫．萊克開放而樂觀的《給 十八個樂師的音樂》。同年稍後的《小小的 手（來自說不的謊言）》也重返以前作品的親 密感。作品由姬爾斯美嘉和辛西亞．洛米 姬合舞，在一個被觀眾環繞的橢圓舞台上 演出。
2001/02 年季度，羅薩絲舞蹈團慶祝舞團 成立二十周年，兼駐拉蒙尼劇院十周年， 在布魯塞爾推出了許多活動：重排了以文 字為重心的舞碼，舉辦了一場熱鬧的「舞目 之夜」，以現場音樂重演了《擊鼓》和《雨》，
創作了大型舞蹈《四月的我》。 2002 年 11 月，繼《階段》中的獨舞〈小提琴階段〉，姬 爾斯美嘉演出第二個獨舞作品《曾經》，選 用的音樂是瓊．拜雅斯 1963 年的《演唱會 第二輯》。最後，一本厚三百三十六頁的舞 團專輯，以及在布魯塞爾美術館舉辦的大 型回顧展結束了二十周年的慶祝活動。
2003 年，羅薩絲舞蹈團的《即興精釀 / 塔科 馬海峽》是首個以即興為主的製作，音樂是 邁爾斯．戴維斯的傑作《即興精釀》。另 外，此舞跟舊作迥然不同的，是舞者可以 在每場演出的某個限定時空架構內作即興 發揮。
2004 年，姬爾斯美嘉又跟妹妹喬蘭特的 Tg STAN 劇團合作，推出以文字為重心， 幾乎沒有音樂的作品《卡桑德拉 以十二 種聲音說話》。
Anne Teresa De Keersmaeker and Rosas
by Dominike Van Besien
In the early 1980s, when the artistic climate allowed dance to gain ever greater prominence, a 20 year old Anne Teresa De Keersmaeker presented her very first piece, Asch . A former pupil of MUDRA, the school founded by Maurice Béjart, she was to give an entirely new orientation to dance in Flanders. In 1981, she went to study at the New York Tisch School of the Arts, where she had firsthand contact with American post-modern dance.
That influence was obvious in her second work in 1982, Fase, four movements to the music of Steve Reich, which was extremely
well received. In 1983, De Keersmaeker founded her own dance company, Rosas, which presented Rosas danst Rosas. Once again, the music by Thierry De Mey and Peter Vermeersch, composed in conjunction with the creation of the choreography was the driving force behind the dance. That special relationship between dance and music was to become a constant in Anne Teresa De Keersmaeker’s work.
Ottone, Ottone, from 1988, was her first dance production for a large stage. The taut lines of the preceding pieces gave way to a new aesthetic concept with a distinctly baroque feel. In 1990 De Keersmaeker created Stella and Achterland, with a score by Györgi Ligeti and Eugène Ysaÿe which
was performed live on stage. The musicians were visually integrated in the scenography and the dancers took their presence into account.
In 1992, Rosas started its residency at the Belgian national opera, La Monnaie in Brussels. In this new setting, De Keersmaeker set herself three goals: to further intensify the link between dance and music; to establish a repertoire; and to create a new dance school in Belgium, to fill the gap left by MUDRA’s disappearance from Brussels in 1988.
By this time Anne Teresa De Keersmaeker’s work had received full recognition, nationally as well as internationally. In 1992 her Mozart/Concert Arias – Un moto di gioia was premiered in the famed ‘Cour d’Honneur’ of the Avignon Festival. The same year Peter Greenaway shot Rosa, a choreography specifically created for the screen. In 1993, the dance programme of the Holland Festival was entirely dedicated to De Keersmaeker, with several revivals and the premiere of Toccata.
Amor constante más allá de la muerte (1994) is a performance that clearly marks the evolution in De Keersmaeker’s dance. Out of a dance vocabulary entirely designed to suit her own body, the choreographer developed an idiom closely linked to specific performers. The strength of this dance lay in the association of a very personal, impetuous vocabulary and a particularly powerful structure. As the company expanded the choreographic language acquired an ever more classically rooted and exceptionally homogeneous vocabulary.
In 1995 Rosas and La Monnaie set up the international educational project P.A.R.T.S. (Performing Arts Research and Training Studios), directed by De Keersmaeker. In the course of its four-year curriculum the students are trained in all major dance techniques. It also pays close attention to music and theatre, and aims to provide a sound intellectual background.
At the end of 1997 De Keersmaeker once again gave her love of music free rein in Just before , comprising the works of Magnus Lindberg, John Cage, Yannis Xenakis, Steve Reich, Pierre Bartholomée and Thierry De Mey.
Just before was a first major stage in the exploration of the joining of text and dance, sense and movement, language and the body. In this study De Keersmaeker was assisted by her sister, Jolente, a member of the theatre company Tg STAN.
Three more stages followed: In March 1999 a female dancer from Rosas and an actor from Tg STAN performed together in Heiner Müller’s Quartett, followed in May 1999 by I said I, an in depth study of the relationship between text and movement through Peter Handke’s Selbstbezichtigung (SelfAccusation). In 2000 the work culminates in In real time, a large-scale project in which all the Rosas dancers, all the Tg STAN actors and the musicians of the jazz band Aka Moon are gathered on stage.
The year 2001 saw the return to pure dance with Rain, set to Steve Reich’s open and optimistic score of Music for 18 Musicians . Later that year, Small hands (out of the lie of no) meant the return to
intimacy a choreography danced by Anne Teresa De Keersmaeker and Cynthia Loemij, on an oval stage surrounded by the audience.
In the 2001/02 season Rosas celebrated its 20th birthday, and its 10 years as the company in residence at La Monnaie. For this occasion many events took place in Brussels ‘text pieces’ were restaged; there was a festive Repertory Evening; repeat performances with live music of Drumming and Rain; and a big new creation (but if a look should) April me. In November 2002, Anne Teresa De Keersmaeker danced her second solo since Violin Phase, part of Fase. This solo, Once, was set to Joan Baez In Concert Part 2 from 1963. The festivities celebrated around 20 years of
加料節目
比利時布魯塞爾歐洲現代舞蹈學校 * 演藝研究及訓練工作室 2006-07學年香港區公開遴選 總監：安．德麗莎．迪．姬爾斯美嘉 7-8.3.2006（二、三） 上午9:00 - 下午6:00
香港演藝學院三樓六號排練室
舞蹈錄像放映 10.3.2006（五） 晚上6:00 - 8:00
香港演藝學院三樓電視錄影廠 主持：林奕華 羅薩絲舞蹈團舞蹈工作坊 導師：瑪爾塔·科羅納多及克林頓·斯特格林 11.3.2006（六） 下午2:00 - 4:00
香港文化中心大劇院二號排練室
* 香港區面試由歐洲委員會資助的DÉPARTS負責組織 香港藝術節及香港演藝學院舞蹈學院協辦 節目詳情請參閱藝術節加料節目小冊子， 或瀏覽香港藝術節網站 www.hk.artsfestival.org
Rosas were concluded by the publication of a 336 page book about Rosas and a big retrospective exhibition in the Brussels Palais des Beaux-Arts.
The new group creation Bitches Brew / Tacoma Narrows in 2003 was the first Rosas production based largely on improvisation, to Miles Davis’ legendary album Bitches Brew. Entirely new was the fact that dancers were also allowed to improvise during each performance within a set time and space frame.
In the 2004 creation, Kassandra – speaking in twelve voices , De Keersmaeker again worked with her sister Jolente from Tg STAN. The result is a piece where text takes central stage, with hardly any music.
Festival Plus
Performing Arts Research and Training Studios (P.A.R.T.S.) *
European School for Contemporary Dance, Brussels, Belgium
Biennial Audition for the Academic Year 2006/07
Director: Anne Teresa De Keersmaeker
7- 8.3.2006 (Tue and Wed)
9:00am - 6:00pm
Studio 6, 3/F, Hong Kong Academy for Performing Arts
Dance Video Screening
10.3.2006 (Fri)
6:00 - 8:00pm
TV Studio, 3/F, Hong Kong Academy for Performing Arts
Host: Edward Lam
Rosas Dance Workshop
Instructors: Marta Coronado and Clinton Stringer
11.3.2006 (Sat)
2:00 - 4:00pm
Rehearsal Room 2, Grand Theatre, Hong Kong Cultural Centre
*The Hong Kong auditions are organised within the frame of the DÉPARTS network, which is funded by the European Commission and in association with the Hong Kong Arts Festival and the School of Dance, Hong Kong Academy for Performing Arts.
For details, please refer to Festival Plus booklet or visit the Festival website: www.hk.artsfestival.org
2006 年 3 月 7 日（星期二）
Tuesday, 7 March 2006
演出長約1小時10分鐘，不設中場休息
Running time: approximately 1 hour and 10 minutes with no inter val
《雨》Rain (2001)
編舞 安．德麗莎．迪．姬爾斯美嘉
音樂 史提夫．萊克的《給十八個樂師的音樂》
舞者
瑪爾塔．科羅納多 池田扶美代
卡雅．克洛德齊吉克
朱利亞．舒格蘭耶斯 伊麗莎維塔．佩科瓦
蘇莎．羅薩沃捷
社本多加
克林頓．斯特林格 羅莎巴．托里斯．格雷羅 雅各．楚茲科斯基
佈景 及 燈光設計 揚．弗斯韋維德
助理佈景 及 燈光設計 吉爾特．佩門
服裝設計 德賴斯．范諾滕
助理服裝設計 安-凱瑟琳．孔茲 編舞助理 安．范阿厄斯喬特
綵排總監 莉斯．瓦尚
音樂分析 喬治斯-伊利．奧托斯
製作 羅薩絲舞蹈團、拉蒙尼劇院
聯合製作 巴黎市劇院
世界首演 2001年1月10日拉蒙尼劇院
Anne Teresa De Keersmaeker Choreographer
Music
Music for 18 Musicians by Steve Reich
Dancers
Marta Coronado
Fumiyo Ikeda
Kaya Kolodziejczyk
Giulia Sugranyes
Elizaveta Penkóva
Zsuzsa Rozsavölgyi
Taka Shamoto
Clinton Stringer
Rosalba Torres Guerrero
Jakub Truszkowski
Jan Versweyveld Set and Lighting Designer
Geert Peymen Assistant Set and Lighting Designer
Dries Van Noten Costume Designer
Anne-Catherine Kunz Assistant Costume Designer
Anne Van Aerschot Assistant Choreographer
Lise Vachon Rehearsal Director
Georges-Elie Octors Music Analyst
Rosas & La Monnaie / De Munt Producers
Théâtre de la Ville, Paris Co-producer
World premiere
10 January 2001, La Monnaie / De Munt, Brussels
《雨》— 大師之作
文：雷夫．吉能斯
安．德麗莎．迪．姬爾斯美嘉的作品 《雨》，一如其前作《階段》(1982) 和《擊鼓》 (1998) ，有許多創作原則來自史提夫．萊 克的音樂。萊克的《給十八個樂師的音樂》 (1976) 既是《雨》的舞蹈配樂，也是《雨》的 創作靈感的重要來源。
《給十八個樂師的音樂》雖然寫於萊克純粹 簡約主義的末期，其極簡的抽象風格，仍 清晰可見。這首長一小時的樂曲結構簡 單，只是將十一個和弦輪番運用，這個過 程在演出當中可以清楚聽到。這十一個和 弦先在精心安排的首段露面，再逐一在接 下來的每個樂段進一步開展約五分鐘。正 當鋼琴和木片琴繼續奏出節奏穩定的和 弦，歌聲及其他樂器加入，形成多重更優 美的旋律。十一個和弦如是者相繼出現， 再在隨後的尾聲况迅速輪流出場。
《雨》的舞蹈編排，從《給十八個樂師的音 樂》况借用了不少創作原則，現舉三例說 明。
在萊克的樂曲當中，無論樂段如何迥異， 總會有似曾相識的元素出現。比如，同一 主題改頭換面地出現（某個旋律型重複了一 會兒，但其中的重音仍在通篇旋律交替出 現）；樂段節奏相似 幾乎所有節奏都來 自萊克另一作品《擊掌音樂》(1972) 的基本 形態。熟悉的要素總是不斷重現，萊克喜 歡稱之為「家屬間的相似」，樂曲各段就像 一家人，儘管分別頗多，相貌仍然有些相 像。
姬爾斯美嘉的編舞也有類似的效果。所有 素材由兩節基本舞句引伸而來，其中「男性 舞句」其實是「女性舞句」的一個複雜變化。 演出開始，瑪爾塔．科羅納多和雅各．楚 茲科斯基一段雙人舞，首次包含女性基本
舞句的要素。在緊接的第二段開首的三人 舞，這些要素再次展現，且比之前更加細 致。（下文提到的「段」皆指《給十八個樂師 的音樂》的結構段落。）
同樣的動作在隨後各段不斷重現。這情況 不僅是從純技術角度才能辨別，即使觀眾 也可以看得分明。有許多要素顯而易見， 如以手掩咀的動作；有些則經常出現，如 轉半圈和輕輕跳離地面，令整個作品更加 連貫。如果《雨》給人的印象是變化多端卻 首尾一貫，這主要是因為那些似曾相識的 要素，在不熟悉的場景不斷浮現。
第二個創作原則是一種非常具體的對比關 係，這在萊克的《給十八個樂師的音樂》可 清晰聽到。一方面，全首樂曲躍動着由鋼 琴和敲擊樂器造成的節奏感。相對於這種 固定得近乎機械的節奏，則是人的呼吸節 奏。《給十八個樂師的音樂》幾乎每段都出 現一些節奏，由歌手和管樂手的呼吸決定 持續多久，即音符的長短視乎他們的呼吸 量而定。
《雨》也採用了相同原則。由於《雨》的編舞 緊隨配樂，當中並無即興發揮的空間。但 有許多動作持續的時間和延伸的幅度，都 取決於舞者的體能和身體構造的極限。
萊克的第三個創作原則，見於從一段到下 一段的過渡，而這些過渡總以鋼片琴作標 識——正如峇里音樂和西非音樂以鼓的獨 奏顯示轉折的位置，很容易聽得出來。而 《給十八個樂師的音樂》則以響亮的鋼片琴 的琴聲，表示新樂段將至。
姬爾斯美嘉清楚突顯每個新部份的開端及 舞者彼此之間的動作提示。雅各．楚茲科 斯基和克林頓．史特林格一起躺在地上， 動作要開始時，其中一個清晰喊道： 「是！」因為太快，也分不清喊的是哪一 個。這一句喊聲幾乎毫無遮掩，不單讓兩 名舞者可同時分開，也明確告訴了觀眾， 將有新的內容出現。
《雨》令人着迷之處，正因為複雜的結構形 於舞蹈編排的表面。可是實際構成這個舞
蹈作品的手法，貫穿其中的倒置和排列等 數學關係及空間組合，沒有全幅顯現，但 姬爾斯美嘉卻提供了讓我們洞悉作品的主 要線索。
她的手法是否全然創新？沒有其他編舞像 姬爾斯美嘉那樣立下典範，讓觀眾可以一 瞥作品的創作原則嗎？當然有。崔莎．布 朗利用所謂「片段累積法」編的舞就是個好 例子，其作品結構是 AABABCABCD ︙︙。
不過，《雨》和往日其他簡約主義的舞蹈大 相徑庭之處，是姬爾斯美嘉不只是將一些 觀眾能理解的創作原則付諸實行；再說， 她的《雨》也與布朗的累積法相反，結合素 材的方法是解構，並非建構。但《雨》最出 色之處，是它有另一個非常不同的構成原 則，這是每場舞蹈演出必有之特色 舞 蹈演出的構成不在於動作本身。舞蹈動作 必須由人表演出來，斷不會無中生有。因 此，舞蹈演出其實就是個獨特的作品，由 實實在在的人把不熟悉的抽象動作表現出 來。
這個首要的基本原則在姬爾斯美嘉的作品 清晰可見。《雨》不是由舞蹈動作，而是由 舞者組成。動作絕非來自泛指的一般人， 沒頭沒臉，而必定來自某一個人，有血有 肉。《雨》不斷提醒我們這一點。
也正是這個原因，作品中才頻頻出現最有 姬爾斯美嘉特色的雙人舞。在整個演出， 愛情雙人舞就作為心照不宣的可能性而存 在。巴蘭欽說過：「每段雙人舞都幾乎是個 愛情故事。」
《雨》愈接近尾聲，就愈清楚表明舞者和舞 蹈動作密不可分，舞者絕不會完全消失於 動作背後。因此演出臨結尾時那些浪漫的 雙人舞，只不過將原先一直隱藏着而且叫 人等得好不耐煩的可能實現出來罷了。
事實上，每段雙人舞早已是個愛情故事。 這大概是姬爾斯美嘉對巴蘭欽的修正。
Rain — A Masterpiece
by Raf Geenens
In Rain , like in Fase (1982) and Drumming (1998), Anne Teresa De Keersmaeker borrows a number of compositional principles from the music of Steve Reich. His Music for 18 Musicians (1976) is both the soundtrack of Rain and an important source of inspiration.
Music for 18 Musicians, although written at the end of Steve Reich’s properly minimalist period, still clearly achieves this minimalist ambition. The structure of this one hour composition is simple: a cycle of eleven chords is executed a process clearly audible in the performance. The eleven chords are exposed for a first time in the elaborate opening section. In each of the sections that follow, one of these chords is further developed for some five minutes. While the pianos and the marimbas continue the pulsating chord, singing voices and other instruments add a number of more melodic lines on top. After the eleven chords have passed in review in this way, a closing part follows in which the eleven chords are again quickly cycled through in succession.
The choreography of Rain borrows a number of compositional principles from Music for 18 Musicians . Here are three examples.
Throughout Reich’s composition, in the most divergent passages, recognisable elements always return. The same motif is disguised (a melodic pattern is repeated for
a while but the accent appears to shift throughout the melody), while the rhythms recall each other (almost all of the rhythms are based on the basic pattern that we know from Reich’s 1972 Clapping Music) and the familiar elements continually reappear. Steve Reich prefers the term ‘family resemblances’. Like members of a family, the sections recall each other, despite their many differences.
De Keersmaeker’s choreography functions in a similar way. All the material was generated from two basic phrases (with the ‘male phrase’ being in fact a complicated permutation of the ‘female phrase’). It is Marta Coronado, in her duet with Jakub Truszkowski at the beginning of the performance, who first touches upon the elements of the female basic phrase. Immediately after this, in the trio at the beginning of Section II, these basic elements are again exposed, this time more elaborately.
The same movements repeatedly surface in the sections that follow. This is not only the case from a technical point of view; it is also clearly visible to the spectator. Conspicuous elements add coherence to the whole. The characteristic hands covering the mouth for example just like more prevalent movements of the many half-turns and the numerous leaps just above the ground. If Rain makes a varied but coherent impression, this is principally because the same familiar elements repeatedly surface in an unfamiliar context.
A second compositional principle that is clearly audible in Reich’s Music for 18 Musicians is a very specific contrast. On the one hand there is the pulse of pianos and percussion, a pulse that continues throughout the composition. Against this regular, almost mechanical rhythm is the rhythm of human breathing. In almost every section of Music for 18 Musicians there are pulses whose duration is determined by the rhythm of the breathing of the singers and the wind players: the notes are held for as long as their breathing allows.
A third compositional principle of Reich’s can be found in the transitions from one section to the next. These transitions are always indicated in the music by the metallophone. Just as the transitions in Balinese and West African music are announced by an easily recognisable drum solo, the resounding of the metallophone in Music for 18 Musicians indicates the coming of a new section.
De Keersmaeker clearly emphasizes the beginning of each new part and the cues that the dancers give to each other. Jakub Truszkowski and Clinton Stringer lie on the ground. To start, one of the two (it happens
The same principle of construction is visible in Rain Rain has a strict score its complex choreography leaves no room for improvisation. But there are a number of movements whose duration and reach are determined by the physical limits of the dancers.
too quickly to say which one) yells ‘yes!’ loudly and clearly. The barely concealed shout not only allows them to depart together, but also makes it clear to us that something new is coming.
Thus Rain fascinates us because the complex structure shines through the surface of the choreography. However, the actual construction the mathematical web of inversions, permutations and spatial patterns that bind the entire choreography is never completely visible. Yet De Keersmaeker provides us with insight into its main threads.
Is all of this new? Are there no other choreographers who allow the spectator a glimpse of the compositional principles in an equally exemplary way? Of course. A good example are the so-called ‘accumulation pieces’ by Trisha Brown. The composing of the choreography is literally reflected in the structure (AABABCABCD ... ).
However, a deep chasm separates Rain from other, older, minimalist dance. In Rain De Keersmaeker does much more than execute compositional principles that can be followed by the spectator. Contrary to for example Brown’s accumulations, the material of Rain is constructed by means of deconstructive rather than constructive mechanisms. But Rain distinguishes itself primarily because it also exposes a very different principle of construction, a characteristic with which each dance
performance is inevitably saddled. The construction of a dance performance does not consist in movements alone. Movements exist only when performed by someone; they never occur in a void. A dance performance is thus above all a remarkable construction in which unfamiliar, abstract movements are attached to a concrete person.
And this ‘first’, elementary principle of construction is made visible by De Keersmaeker. Rain consists not of dance movements but of dancing persons. Movements are never made by a generic whomever, but always by a specific someone. Rain continually reminds us of this fact.
It is also precisely why the duet the De Keersmaeker theme par excellence — occurs so frequently. The love duet is present as an unspoken possibility throughout the entire performance. ‘A duet is a love story almost,’ said Balanchine.
The closer Rain comes to its end, the more clear it becomes that the latter is connected to the former. The dancers never completely disappear behind the movements. Thus the romantic duets at the very end of the performance actualise a possibility that was already impatiently present the entire time.
In fact each duet is always already a love story, De Keersmaeker appears to correct Balanchine.
2006 年 3 月 10 和 11 日（星期五、六）
Friday and Saturday, 10 and 11 March 2006
演出長約2小時，包括一節20分鐘中場休息
Running time: approximately 2 hours with a 20 minute interval
《雨季的愁思》
Raga for the Rainy Season (2005)
編舞 安．德麗莎．迪．姬爾斯美嘉
舞蹈詞彙
薩爾瓦．桑奇斯 及 羅薩絲舞蹈團
音樂
米安瑪哈拉迦
演唱 蘇路察娜．巴哈斯柏蒂 薩倫吉琴 休爾坦．卡恩 塔布拉手鼓 扎柯．胡辛 Tampuras 阿莫德．瓦德漢、尤沙．薩斯特里
舞者
瑪爾塔．科羅納多 塔利．多爾文
池田扶美代
卡雅．克洛德齊吉克 伊麗莎維塔．佩科瓦 蘇莎．羅薩沃捷
社本多加
克林頓．斯特林格 朱利亞．舒格蘭耶斯
Anne Teresa De Keersmaeker Choreographer
Dance Vocabulary
Salva Sanchis and Rosas
Music
Raga Mian Malhar
sung by Sulochana Brahaspati
sarangi Sultan Khan
tabla Zakir Hussain
tampuras Amod Vardhan and Usha Sastri
Dancers
Marta Coronado
Tale Dolven
Fumiyo Ikeda
Kaya Kolodziejczyk
Elizaveta Penkóva
Zsuzsa Rozsavölgyi
Taka Shamoto
Clinton Stringer
Giulia Sugranyes
《愛之極至》
A Love Supreme (2005)
編舞
安．德麗莎．迪．姬爾斯美嘉
薩爾瓦．桑奇斯
音樂
《愛之極至》
次中音薩克斯管、演唱 約翰．科蘭
鋼琴 麥科伊．泰納
低音結他 占美．加里森
鼓 埃爾文．鍾斯
《確認、決心、執行、聖詩》
(© Coltrane, J), © Jowcol Music, Inc (Universal Music Publ N V)
舞者
辛西亞．洛米姬
莫雅．米高
薩爾瓦．桑奇斯 伊戈爾．夏斯科
Choreographers
Anne Teresa De Keersmaeker
Salva Sanchis
Music
A Love Supreme tenor saxophone and vocals John Coltrane
piano McCoy Tyner
bass Jimmy Garrison
drums Elvin Jones
Acknowledgement, Resolution, Pursuance & Psalm (© Coltrane, J), © Jowcol Music, Inc (Universal Music Publ N V)
Dancers
Cynthia Loemij
Moya Michael
Salva Sanchis
Igor Shyshko
佈景 及 燈光設計 揚．弗斯韋維德
助理佈景 及 燈光設計
克里斯托弗．拉格、達恩．維爾希吉
服裝設計 德賴斯．范諾滕
助理服裝設計
奧阿蒂夫．布爾艾奇
安妮-凱瑟琳．孔茲
綵排總監 莉斯．瓦尚
藝術指導助理 安妮．范阿厄斯喬特
研究員 薩拉．詹森
製作管理 弗里克．博伊
服裝管理
愛瑪．祖內、瓦萊麗．德維利
燈光技師
湯姆．范埃肯
克里斯托夫．范迪吉克
佈景技師
尤里斯．厄維恩、揚．赫林克斯
凱恩．奧弗盧普
攝影師 赫爾曼．索奇盧斯
物理治療師 伊夫琳．薩克斯
Jan Versweyveld Set and Lighting Designer
Assistant Set and Lighting Designers
Christophe Ragg and Daan Verhaeghe
Dries Van Noten Costume Designer
Assistant Costume Designers
Aouatif Boulaich
Anne-Catherine Kunz
Lise Vachon Rehearsal Director
Anne Van Aerschot Artistic Production Assistant
Sara Jansen Researcher
Freek Boey Production Management
Costume Handling
Emma Zune and Valérie De Waele
Lighting Technicians
Tom Van Aken
Kristof Van Dijck
Set Technicians
Joris Erven, Jan Herinckx
Koen Overloop
Herman Sorgeloos Photographer
Evelyne Sax Physiotherapist
Thanks to 鳴謝
Clive Mitchell, Czeslaw Wnorowski and Kris Van Aert
Raga for the Rainy Season: Beniamin Boar, Johan Thelander, Jakub Truszkowski
Thierry De Mey, Christian Ledoux, Ricardo Nova, Sujata Goel, Jetty Roels, Pascale Gigon
Dirk Frimout, Jacques Vercheval and Madjid Khaladj
A Love Supreme: Alice Coltrane, Ravi Coltrane, Marilyn MacLeod, Danny Capilian
Joseph V Melillo, Jempi Samyn, Ashley Kahn, Dave Douglas, Rob Leurentop, Huub van Riel
Miel Van Attenhoven, Fabrizio Cassol, Stéphane Galland, Michel Hatzigeorgiou, Fabian Fiorini
Kris Defoort, Akram Khan, Farooq Chaudhry and Aliocha Van der Avoort
製作
羅薩絲舞蹈團、拉蒙尼劇院
Produced by
Rosas and De Munt/La Monnaie
Co-produced by
Théâtre de la Ville Paris,
Opéra de Rouen/Haute Normandie
Teatro Comunale di Ferrara
Premiere
24 May 2005, KunstenFESTIVALdesArts 2005, les Halles de Schaerbeek, Belgium
《雨季的愁思》與《愛之極至》
文：西格麗德．布塞
自 1980 年代初姬爾斯美嘉的第一個舞蹈作 品，其創作特色就是探索動作與音樂之間 的張力。過去二十年來，她採用過大量風 格迥異的音樂。近年她對印度拉迦音樂和 爵士樂日益着迷。最先在舞台上跟爵士樂 相遇的作品是《真實時間》(2000) ，印度拉 迦則初現於《四月的我》(2002) 。
兩年前，姬爾斯美嘉根據爵士樂傳奇人物邁 爾斯．戴維斯的專輯編成舞蹈《即興精釀／ 塔科馬海峽》，令大家喜出望外。該舞是羅 薩絲舞蹈團首個以即興為主的舞目，編舞期 間，姬爾斯美嘉得到薩爾瓦．桑奇斯的支持 和意見。桑奇斯是布魯塞爾歐洲現代舞蹈學 校演藝研究及訓練工作室 (P.A.R.T.S.) 首批 畢業生之一，後來成為編舞。兩人發覺彼
此對爵士舞同樣着迷，也同樣喜歡探索即 興的可能性。其後作品《德殊》進一步探索 即興的可能，不過這次不僅限於爵士樂， 更涉及印度拉迦音樂。在這些拉迦音樂當 中，既有編排與即興的對立，也體現了熟 悉與未知的關聯。
新作《雨季的愁思／愛之極至》分兩部份 : 《雨季的愁思》共九個舞者（八女一男），隨 着一首印度拉迦樂曲表演連串不同的動 作，表達出雨季的情思。《愛之極至》是一 支四人舞，由兩男兩女配合着約翰．科蘭 的同名傑作起舞。這兩個作品氣氛情調大 異其趣，但同時對靈性有着相同的理解。
印度的米安瑪哈拉迦《雨季的愁思》由蘇路 察娜．巴哈斯柏蒂唱出，是一首音樂禱 告，傾訴在雨季等候情人的感傷。外面下
着雨，等待的心情經歷了幾個階段，時間 彷彿伸展延長，成為靜寂與冥想的時刻。
舞者動作慵懶，演出時心情沉鬱，像在凝 神反省。當舞者舞動或被帶動時，動作都 協調一致，然後各做各的，自行散開。
等待情人的女子平日做慣的瑣細事情，都 包含在那伸延的動作之中。這些動作素 材，有時會加入快速的跳音，絕望倒下爬
起的動作，隨之為安慰。這是因為苦苦等 候絕非心甘情願的事，慢吞吞地流逝的時 光也因熱情的反叛而中斷。每個舞者各以 自己的方式，擺脫那不絕如縷的情緒和無 休無止的動作。那彷如直線延伸的舞蹈編 排，給圓形和螺旋形圖案打破。舞者就像 天際間的星體，雖各自運轉，卻又互相關 連，構成一個有條不紊的混沌宇宙。
每個動作都給固定了，非要遵循某種結構 與構圖形態不可，即使看上去並非如此。
與之相反，第二部份《愛之極至》則有較多 空間，容許「即時創作」，讓意料之外的東 西出現。
在爵士樂中，結構和自由之間有自然不過 的張力，怎樣把這張力轉移到舞蹈上去 呢？在演出當中，一群舞者怎樣自然地組 織起來？在苦心經營和當機立斷的微妙處 境，個人和群體應保持怎樣的關係？怎樣
以群體或個人身份來講故事？怎樣令各自 的故事更可信更動人？
所有這些問題，都是兩位編舞者在尋求即 興作為舞蹈風格時的出發點。即興之妙， 在於製定規矩和尋獲自由之間取得平衡。
既然早已有許多人接受這種即興的挑戰， 挖掘作品背後的結構原則就更為重要。姬 爾斯美嘉一向為之神往不已的，是時空的 組織形態，以及一系列數字或螺旋形，這 些系列可以有數之不盡的方法來組成空 間，再由她一一拆解。當創作從即興入手 時，這些固定點就變得非同小可。
姬爾斯美嘉和桑奇斯腦海中盤旋着科蘭的 《愛之極至》已有好幾年，但真要拿來編 舞，倒有點猶豫。《愛之極至》名列二十世 紀爵士樂巔峰之作，其複雜與單純的張力 非比尋常，而這種張力一向也是姬爾斯美 嘉的編舞特色。
《愛之極至》是科蘭終極的心靈宣言，沒有 人像他那樣對一件樂器作出如此深刻的技 術探究，為的是達到精神的最高境界。樂 曲分四部份：確認、決心、執行、聖詩。 結尾是科蘭的狂喜詩篇，是對神聖之愛的 頌歌。樂曲單純與複雜交織，美不勝收， 這又與他的出色演奏密不可分。
《雨季的愁思》和《愛之極至》的差別，也是 橫向與直向、女聲和男聲、單聲部音樂及 複調音樂的對比，絕非偶然。這些互相平 衡的對立一向是姬爾斯美嘉的創作動機。
這兩個舞蹈既相反亦相成。在拉迦音樂那 段，能量的擴展和橫向延伸，剛好對比出 科蘭《愛之極至》那段垂直發展的緊奏樂 句，那不斷向上求索的樂章，教人感動莫 名。而隨着拉迦緩慢起舞、憂傷鬱結的舞 者，則跟《愛之極至》中動機各異的四個舞 者，感情同樣強烈澎湃。兩段舞蹈都極具 形式條理，用以塑造美感，營造情緒。正 因姬爾斯美嘉重視情緒，她的作品才屢屢 高出純粹追求形式的舞蹈編排，令台上每 個舞者看上去既剛強又脆弱。
RagafortheRainySeason/ ALoveSupreme
by Sigrid Bousset
Since her very first dance productions in the early 1980s, the work of Anne Teresa De Keersmaeker has been characterised by an exploration of the area of tension between movement and music. Over the last 20 years she has worked with a huge amount of extremely varied music. For the last few years she has been increasingly fascinated by Indian ragas and jazz. Her first encounter with jazz on stage took place during In real time (2000). Indian ragas turned up for the first time in April me (2002).
Two years ago De Keersmaeker surprised us with Bitches Brew/Tacoma Narrows, a choreography based on the composition by the jazz legend Miles Davis. Bitches Brew was the first Rosas production in which improvisation formed an intrinsic part of the artistic product. During this process De Keersmaeker received support and feedback from Salva Sanchis, one of the first dancers to graduate from P.A.R.T.S., and who then followed his own course as a choreographer. The two choreographers found they had something in common in their shared fascination for jazz music and their exploration of the potential of improvisation. Just as in Bitches Brew, the further possibilities of improvisation were explored in Desh, but this time not only in jazz but also in Indian ragas. The relationship between composition and improvisation, and between the familiar and the unknown, is also at the heart of these ragas.
The new performance, Raga for the Rainy Season / A Love Supreme, is in two parts: Raga for the Rainy Season is for nine dancers — eight women and a man — who perform a series of variations to the music of an Indian raga for the rainy season. A Love Supreme is a quartet in which two men and two women dance to this legendary piece of music by John Coltrane. The two works have completely different atmospheres, but at the same time share a common notion of spirituality.
The Indian Mian Malhar raga, a Raga for the rainy season, sung by Sulochana Brahaspati, is a musical prayer on the melancholy brought about by the rain and by waiting. The various stages of waiting while it rains outside take the form of a horizontal experience of time, time stretched out, stillness and meditation. The movements are languorous, performed with a subdued, inward-looking concentration; bodies carry and are carried, dancers move in a unison which then breaks up, drifts apart; the little rituals from the daily lives of the waiting women can be seen in the stretched-out movement material, which is occasionally injected with a quick staccato, a desperate falling and getting up, followed by consolation. Because this waiting arouses resistance, the linear slowness is disrupted by passionate rebellion. Each individual breaks out of the endless flow of emotions and movements in her own way. The linear choreographic pattern is interrupted by circles and spirals, and the
dancers are like heavenly bodies in the universe, alone and yet linked together in a perfectly organised chaos.
Each movement is fixed, in an obsessional pattern of structures and compositions, even though it does not seem to be so. By contrast, in the second part, A Love Supreme, there is more space than ever for ‘instant composition’, for the unexpected and the unforeseen.
How do you take the tension between structure and freedom that is so natural in jazz music and convert it into dance? How does a group of dancers organise itself spontaneously during a performance? And how is the individual related to the group in this delicate relationship between planned structure and instant decisionmaking? How do you tell your story, as a group, as an individual? And how do you underpin each other’s stories?
All these questions formed the starting point for the two choreographers’ quest for improvisation as a dance idiom. Improvisation consists of the balance between making rules and finding freedom. Now that this challenge of improvisation has been taken up more than ever before, the importance of underlying structural principles becomes that much greater. De Keersmaeker has always been fascinated by patterns that organise time and space, and by series of numbers or spirals that imply an endless way of constructing space and then deconstructing it again. When starting from improvisation these fixed points are more important than ever.
De Keersmaeker and Sanchis have had Coltrane’s A Love Supreme in their minds for several years now, and have been rather hesitant about actually using it as dance
music. A Love Supreme is one of the highlights of 20th century jazz and is remarkable for the tension between complexity and simplicity, a tension that has always characterised De Keersmaeker’s choreography too.
A Love Supreme is John Coltrane’s ultimate spiritual statement. No one has taken the technical exploration of an instrument so far with the aim of reaching ‘spiritual heights’. The piece comprises four parts: Acknowledgement, Resolution, Pursuance and Psalm. It ends with an ecstatic poem by Coltrane an ode to divine love. The piece displays simplicity and complexity, an absolute beauty which is also closely tied up with the performance.
It is no coincidence that the contrast between Raga for the Rainy Season and A Love Supreme is the contrast between the horizontal and vertical, the female and the male voice, the monophonic and polyphonic. These balancing opposites have always been the underlying motivation behind De Keersmaeker’s creative drive.
The two pieces are both complementary and opposite: the drawn-out energy and the horizontal stretching of time in the raga contrasts with the compactness and verticality of Coltrane’s A Love Supreme, in which the ever higher transcendental movement is so moving. The restrained melancholy of the slowness in the raga is just as passionate as the intensity of the four individuals with their distinct motives in A Love Supreme . Both pieces display an extremely formal logic that is intended to generate beauty and emotions. It is this emotional approach which in the work of Anne Teresa De Keersmaeker repeatedly transcends the purely formal choreographic exploration, and makes every dancer involved both strong and vulnerable.
舞蹈員 Dancers
瑪爾塔．科羅納多
Marta Coronado
辛西亞．洛米姬 Cynthia Loemij
社本多加 Taka Shamoto
池田扶美代 Fumiyo lkeda
塔利．多爾文 Tale Dolven
蘇莎．羅薩沃捷 Zsuzsa Rozsavölgyi
朱利亞．舒格蘭耶斯 Giulia Sugranyes
莫雅．米高 Moya Michael
卡雅．克洛德齊吉克 Kaya Kolodziejczyk
伊戈爾．夏斯科 Igor Shyshko
薩爾瓦．桑奇斯 Salva Sanchis
雅各．楚茲科斯基 Jakub Truskowski
羅莎巴．托里斯．格雷羅 Rosalba Torres Guerrero
伊麗莎維塔．佩科瓦 Elizaveta Penkóva
克林頓．斯特林格 Clinton Stringer
瑪爾塔．科羅納多 Marta Coronado
瑪爾塔．科羅納多 1973 年生於西班牙， 1981 年開始接受芭蕾舞訓練。科羅納多曾是堯 茲卡利舞蹈團及荷西．拉內斯的舞蹈團成員，並參與創作《天壇座》。1996 年她加入姬爾 斯美嘉的舞蹈學校 P.A.R.T.S.（布魯塞爾歐洲現代舞蹈學校演藝研究及訓練工作室），並 於 1998 年成為羅薩絲舞蹈團成員。 2001 年在紐約演出《現場擊鼓》，為她贏得翌年的貝 絲演出獎。
Marta Coronado was born in Spain in 1973. She began classical ballet training in 1981 and has been a member of the Yauzkari Company and the new company of José Lainez: Piejuntoapie, where she contributed to the creation of Ara.
In 1996, Coronado entered Anne Teresa De Keersmaeker’s dance school P.A.R.T.S. and in 1998, became a member of Rosas. Her performance in Drumming Live in New York won her a Bessie Performer’s Award in 2002.
池田扶美代 Fumiyo lkeda
池田扶美代1962 年生於日本大阪，十歲開始學習芭蕾舞。1979 年，池田進入MUDRA ， 在那兒結識了姬爾斯美嘉，並於 1983 年加入剛成立的羅薩絲舞蹈團。 1983 至 1992 年 間，她參與了舞蹈團所有的舞蹈創作及演出。1992 年，池田離開舞蹈團，一年後以自由 身舞蹈員身份重返。她曾為《羅薩》一舞擔任綵排總監，並參與製作其他羅薩絲舞蹈團的 影視作品。池田後來再離開，於1997 年重返，在影片《羅薩絲之舞》及《Woud》中均有演 出。她也參加了《剛剛》和《擊鼓》的創作，並參與《莫扎特／音樂會詠嘆調》之複排重演。
Born in 1962 in Osaka, Japan, Fumiyo Ikeda took ballet classes from the age of ten. In 1979, Ikeda entered MUDRA where she met Anne Teresa De Keersmaeker and in 1983 joined the newly-founded company, Rosas.
Between 1983 and 1992 Ikeda contributed to the creation of, and danced in, all the company’s productions. In 1992 she left Rosas, to return a year later as a freelance dancer. She was the rehearsal director for the choreography Rosa and has also contributed to several of Rosas’ films and videos.
Ikeda left again and returned to Rosas in 1997, where she danced in the film Rosas danst Rosas and in the performance Woud, as well as contributing to the creation of Just Before, Drumming and the revival of Mozart / Concert Arias
卡雅．克洛德齊吉克 Kaya Kolodziejczyk
卡雅．克洛德齊吉克1981 年生於波蘭，曾在華沙國家芭蕾舞學校及蕭邦音樂學院進修。 2000 至2004 年間她在P.A.R.T.S. 求學。她曾參加威廉．科西的法蘭克福芭蕾舞團，以及 維也納的 2004「舞之網」的工作坊。求學期間，她創作了《心愛的超級英雄》和《這個給弗 蘭西斯卡》。學成後她加入羅薩絲舞蹈團，參加了《即興精釀／塔科馬海峽》和《雨》的演 出。
Kaya Kolodziejczyk was born in Poland in 1981. She studied at the National Ballet School and the Chopin Music Conservatory in Warsaw, and from 2000 to 2004 at P.A.R.T.S. She participated in workshops in Frankfurt with William Forsythe and at Danceweb 2004 in Vienna.
Her creations include Favourite Superhero and One for Francesca at P.A.R.T.S. Kolodziejczyk joined Rosas at the end of her studies and has danced in Bitches Brew / Tacoma Narrows and Rain.
辛西亞．洛米姬 Cynthia Loemij
辛西亞．洛米姬1969 年生於荷蘭。她中學時開始學芭蕾舞，後在鹿特丹舞蹈學院接受古 典舞和現代舞蹈的師資培訓。受訓期間加入過不同工作室，加強了她當 舞蹈員的侫心。 1991 年洛米姬加入羅薩絲舞蹈團，參與過大部份製作。她曾參演《腹地》和《羅薩絲之舞》 的演出和電影，也有參與《小宇宙》的複排重演。
Cynthia Loemij was born in the Netherlands in 1969. She took her first dance classes in secondary school and studied teacher training in classical and modern dance at the Dance Academy of Rotterdam. Different workshops during her training strengthened her conviction that she wanted to dance.
Loemij joined Rosas in 1991 and has contributed to the creation s of most of the productions. She has danced in the performances and the films of Achterland and Rosas danst Rosas, as well as in the revival of Mikrokosmos.
莫雅．米高 Moya Michael
莫雅．米高生於約翰尼斯堡，加入約翰內斯堡青年芭蕾舞團前，先在當 地跟戴安娜．史 碧克斯學習芭蕾舞。 1995 至 1997 年，她在南非比勒陀利亞理工大學舞蹈系進修非洲舞 和現代舞，後獲獎學金到 P.A.R.T.S. 深造三年，並在那况認識了艾甘漢，畢業後隨即往 倫敦成為艾甘漢舞蹈團的創團團員，巡迴演出達五年，舞碼包括艾甘漢 的最新作品 《媽》。
2003 年6 月米高也編了舞蹈作品《孵化》，在倫敦南岸中心演出。同年，她在南非格雷克 厄姆斯敦舉行的國家藝術節，獲頒標準銀行青年藝術家舞蹈獎。
Moya Michael was born in Johannesburg, where she trained in ballet, under the direction of Dianne Sparks before joining the Johannesburg Youth Ballet. Between 1995 and 1997 she studied African and Contemporary dance at the Technikon Pre toria Dance Department, and was then awarded a three year scholarship to st udy at P.A.R.T.S. There she met Akram Khan and after completing her studies, moved to London where she became a founding member of his company, dancing and touring for five years, including appearing in his latest production, Ma.
Michael also created, Hatch, which was performed at the London South Bank Centre in June 2003. The same year she was named the Standard Bank Young Artist for Dance at the National Arts Festival in Grahamstown, South Africa.
伊麗莎維塔．佩科瓦 Elizaveta Penkóva 瑞典籍的伊麗莎維塔．佩科瓦 1981 年生於俄羅斯，曾在哥德堡、斯德歌爾摩學習芭蕾 舞。 2002 年於 P.A.R.T.S. 畢業。她也曾在匈牙利和紐約短期留學。 2003 年 1 月加入羅薩 絲舞蹈團，參與了《即興精釀／塔科馬海峽》及《卡桑德拉》的創作，以及《莫扎特／音樂 會詠嘆調》的複排重演。
Swedish citizen Elizaveta Penkóva was born in Russia in 1981. She studied ballet in Gothenburg and Stockholm, and graduated from the first cycle in P.A.R.T.S. in 2002. She also studied for short periods in Hungary and New York. Penkóva joined Rosas in January 2003 to take part in the creation process of Bitches Brew / Tacoma Narrows, Kassandra and the revival of Mozart / Concert Arias.
蘇莎．羅薩沃捷 Zsuzsa Rozsavölgyi
蘇莎．羅薩沃捷 1980 年生於匈牙利，曾習歌唱、現代舞及小提琴。 2000 年，她進入 P.A.R.T.S. 學習，演出過托馬斯．豪厄特、威廉．科西等編舞家的作品。課餘曾參 加 2003 年大衛．贊布拉諾的「兔子」計劃。個人作品有獨舞、雙人舞以及和加博爾．瓦爾加 合組的「現代舞會」。
Zsuzsa Rozsavölgyi was born in Hungary in 1980. She studied singing, contemporary dance and played the violin. She entered P.A.R.T.S. in 2000 and has danced in choreographies by Thomas Hauert and William Forsythe, among others. Outside the curriculum she participated in the Rabbit Project with David Zambrano in 2003. Her personal creations include solos, duets and Bal Moderne choreographies with Gabor Varga. In 2004 she graduated and joined Rosas.
薩爾瓦．桑奇斯 Salva Sanchis
舞者及聯合編舞（愛之極至） Dancer and Co-choreographer (A Love Supreme)
薩爾瓦．桑奇斯生於巴塞隆拿附近小鎮曼雷薩。在巴塞隆拿戲劇學院修 讀戲劇，專研身 體劇場、默劇技巧、劍法、技巧體操和合氣道。1995 年移居比利時，進入P.A.R.T.S. 。 1999 年 4 月與弗洛倫絲．奧桑德合編合演雙人舞《輕率之見》。 2000 年 6 月首演獨舞《間 隙》，作為群舞《渴望與恐懼》的試編。
除自己的創作，桑奇斯還經常與編舞家馬克·范朗西和錄像藝術家艾克 ．范德米申合 作。過去兩年，在根特、烏得勒支、布魯塞爾和安特衛普等地教授舞蹈 技巧，主持工作 坊。桑奇斯最近的演出是五人舞《之前》、雙人舞《不斷接力》和獨舞《間隙》。2003 年以自 由身加入羅薩絲舞蹈團，創作了《即興精釀／塔科馬海峽》。
Salva Sanchis was born in Manresa, near Barcelona. He studied at the Barcelona Institute of Theatre, specialising in body theatre, mime, sword fighting, acrobatics and Aikido. In 1995 he moved to Belgium to study at P.A.R.T.S. In April 1999 he premiered Reckless Reckoning, a duet made and performed in collaboration with Florence Augendre. In June 2000 he premiered the solo Gap, conceived as a preliminary study for the group piece Itch & Fear.
Aside from his own choreography, Sanchis has collaborated regularly with choreographer Marc Vanrunxt and video artist Elke Vandermeerschen. For the last two years he has been teaching technique classes and workshops in Gent, Utrecht, Brussels and Antwerp. His most recent performances are Previous, Constant Relay and Gap. He joined Rosas for the creation of Bitches Brew / Tacoma Narrows in 2003.
社本多加 Taka Shamoto
社本多加1975 年生於日本仙台。三歲開始在仙台城市芭蕾舞學校習舞，十六歲進入漢堡 芭蕾舞團學校求學。受訓三年後，社本多加於1995 年決定轉往P.A.R.T.S. 學習現代舞。 在那况，她參與創作羅伯托．奧利范．伊格尼斯亞的《共同本質》和《共生》，以及由羅伯 特．威爾遜執導的《普羅米修斯》。 1997 年 8 月加入羅薩絲舞蹈團。
Taka Shamoto was born in Sendai, Japan, in 1975. She began dancing at the age of three at the Sendai City Ballet School. At 16, she joined school of the Ballett Hamburg and after three years training, Shamoto decided to study contemporary dance at P.A.R.T.S. in 1995. There, she contributed to the creation of Common Essence and Symbiosis by Roberto Oliván de la Iglesia and to Prometeo directed by Robert Wilson. In August 1997 Taka Shamoto joined Rosas.
伊戈爾．夏斯科 Igor Shyshko 伊戈爾．夏斯科 1975 年生於白俄羅斯。 1993 至 1997 年在明斯克文化大學舞蹈系修習芭 蕾舞和現代舞。1997 年移居布魯塞爾，進入 P.A.R.T.S. ，演出並參與創作克萊爾．克羅 伊茲的《給我一些不死之物》、湯瑪斯．豪納特的《銀河》和莊納頓．伯羅斯的《自我書 寫》。1998 年羅薩絲舞蹈團創作《擊鼓》期間，任迪姬爾斯美嘉的助理。2000 年演出艾甘 漢編的舞蹈《匆忙》，同年加入羅薩絲舞蹈團，演出《擊鼓》之重演，參與創作《雨》、《四 月的我》、《即興精釀／塔科馬海峽》、《卡桑德拉》和《莫扎特／音樂會詠嘆調》的重演。
Igor Shyshko was born in 1975 in Belarus. From 1993 to 1997 he studied ballet and modern dance at the University of Culture in Minsk.
In 1997 he moved to Brussels to become a student at P.A.R.T.S., where he contributed to the creation and performance of Donne-moi quelque chose qui ne meurt pas by Claire Croizé, Milky Way by Thomas Hauert and Selfwriting by Jonathan Burrows. In 1998, Shyshko worked as a trainee with De Keersmaeker and Rosas during the creation process of Drumming and in 2000 he contributed as a dancer to the creation of Rush by Akram Khan. In 2000 he graduated from P.A.R.T.S. and became a member of Rosas, dancing in the revival of Drumming and contributing to the creation of Rain, April me, Bitches Brew / Tacoma Narrows, Kassandra and the revival of Mozart / Concert Arias.
克林頓．斯特林格 Clinton Stringer
克林頓．斯特林格1975 年生於南非的東倫敦。十七歲開始學習爵士樂和現代舞。中學畢 業後進入羅得大學，同時從事跳舞工作，並參加大學舞蹈團演出。 1997 年進入 P.A.R.T.S. ，一年半後離開，並參演約基姆．施勒梅爾（巴塞爾舞蹈劇場）編的舞《愛的戰 爭》。 2000 年，返回布魯塞爾，加入羅薩絲舞蹈團，參加《擊鼓》的複排重演。他還參與 了《真實時間》、《雨》、《四月的我》、「2002保留劇目之夜」、《即興精釀／塔科馬海峽》、 《卡桑德拉》的創作和《莫扎特／音樂會詠嘆調》的複排重演。
Clinton Stringer was born in East London, South Africa, in 1975. He started to take jazz and contemporary dance classes at the age of 17. After high school he went to Rhodes University and while there worked as a dancer and performed in the university dance company.
In 1997 Stringer entered P.A.R.T.S., where he studied for a year and a half, leaving in 1999 to dance in the production Guerra d’Amore, by choreographer Joachim Schlomer (Tanztheater Basel). In 2000 he returned to Brussels to join Rosas, dancing in the revival of Drumming and contributing to the creation process of In Real Time, Rain, April me, the Repertory Evening (2002), Bitches Brew / Tacoma Narrows, Kassandra and the revival of Mozart / Concert Arias.
朱利亞．舒格蘭耶斯 Giulia Sugranyes
朱利亞．舒格蘭耶斯1977 年布魯塞爾出生，馬德里長大。她在馬德里國家音樂學院學習 西班牙舞和佛蘭明高舞。1995 年進入P.A.R.T.S. 學習，1998 年畢業。自畢業以來，她曾 與恩佐．佩澤拉，布賴斯．勒魯，阿納布．謝萊肯斯，阿科．倫慈等編 舞家合作。她創 作的獨舞《首先》入選 1999 年 Trappelend 天才之作。她和馬滕．范考溫伯吉合編的雙人 舞《重撥二》在克拉普茨圖克音樂節演出。還和科特賴克的「多重舞製作」一起創作了集體 舞《單對單》。 2001 年，她成為羅薩絲舞蹈團的一員，參加過《擊鼓》的複排重演，還有 《四月的我》(2002) 、《即興精釀／塔科馬海峽》(2003) 及《卡桑德拉》等製作。
Giulia Sugranyes was born in Brussels in 1977 and grew up in Ma drid. There she studied Spanish dance and Flamenco at the National Conservatory. In 1995 she entered P.A.R.T.S., graduating in 1998.
Since graduation she has collaborated with choreographers Enzo Pezzella, Brice Leroux, Anabel Schellekens and Arco Renz, and created the solo D’à bord, that was selected for Trappelend Talent ‘99. Together with Maarten van Cauwenberghe, she choreographed the duo Redial 2, presented at the Klaptstuk Festival and created the ensemble piece tijd à tijd with the group Polydans of Kortrijk. In 2001 Sugranyes became a member of Rosas. She danced in the revival of Drumming and has contributed to April me (2002), Bitches Brew / Tacoma Narrows (2003) and Kassandra. 羅莎巴．托里斯．格雷羅 Rosalba
Torres Guerrero
羅莎巴．托里斯．格雷羅1974 年生於瑞士日內瓦，有西班牙和法國血統。她在日內瓦音 樂學院開始習舞，隨後進入昂熱國立現代舞中心，參與製作伯納多．蒙 泰特的《遺忘的 瑪格麗特》，並分別重演了杜明尼．杜佩的《女性面貌》和杜明尼．巴古特的《小作品》。 1994 年她創作了獨舞《凌晨四點，我在聽比雅芙的歌》。之後進入巴黎菲利普．德庫弗的 DCA 舞團工作。1996/97 年度，她加入伊什梅爾．伊沃舞蹈團，演出了第二個獨舞：《沒 有名銜》。1997年4 月，她參與創作安妮特．萊迪( 凱利舞蹈團) 的《另類灰姑娘》。1997 年 成為羅薩絲舞蹈團的成員，參演《剛剛》、《擊鼓》、《我說我》、《真實時間》、《雨》，《四 月的我》，《即興精釀／塔科馬海峽》、《卡桑德拉》和《莫扎特／音樂會詠嘆調》之複排重 演。
Rosalba Torres Guerrero is of Spanish French heritage, but was born in Geneva, Switzerland, in 1974. She took her first dance classes at the Geneva Music Conservatory and then moved to the Centre National de Danse Contemporaine L’Esquisse of Angers, where she contributed to the creation of Bernardo Montet’s Marguerites de l’oubli, and the revivals of Dominique Dupuis’s Visages de Femmes and Dominique Bagouet’s Les petites pièces.
In 1994 she created the solo piece Quatre du matin, j’écoute Piaf and the following season she worked with Philippe Decouflé’s DCA in Paris. In 1996/97 she joined Ismael Ivo’s company, where she presented a second solo: Without any title. In April 1997 she participated in the creation process of Annette Leday’s Cinderella otherwise with the Compagnie Keli.
Guerrero became a member of Rosas in 1997 and has contributed to the creation of Just Before, Drumming, I said I, In Real Time, Rain, April me, Bitches Brew / Tacoma Narrows, Kassandra and the revival of Mozart / Concert Arias.
雅各．楚茲科斯基 Jakub Truskowski 雅各．楚茲科斯基 1977 年生於波蘭。自 1987 年起，在格旦斯克國家芭蕾舞學院接受舞 蹈訓練， 1996 年獲得學位，同年考入 P.A.R.T.S. 。 1999 年與同學參演《定塵》和《假設的 河流 3》，並於布魯塞爾、安特衛普、根特、里斯本、南特、阿姆斯特丹和卡林維爾等地 演出。 2000 年 1 月加入羅薩絲舞蹈團，參加《擊鼓》的複排重演，還有《真實時間》、《四 月的我》、「2002 保留劇目之夜」，《即興精釀／塔科馬海峽》及《卡桑德拉》的創作，以及 《莫扎特／音樂會詠嘆調》之重演。
Jakub Truszkowski was born in Poland in 1977 and started his dance training in 1987 at the National Ballet School in Gdansk. He obtained his degree in 1996 and was admitted to P.A.R.T.S. in the same year. He danced in Fixing Dust and Hypothetical Stream 3, performed by P.A.R.T.S. students in 1999 in Brussels, Antwerp, Gent, Lisbon, Nanterre, Amsterdam and Charleville.
In January 2000 Truszkowski joined Rosas, dancing in the revival of Drumming and participating in the creation of In Real Time, April me, the Repertory Evening (2002), Bitches Brew / Tacoma Narrows, Kassandra and the revival of Mozart / Concert Arias
塔利．多爾文 Tale Dolven
塔利．多爾文1981 年生於斯坦萬格。她曾在挪威奧斯陸及 P.A.R.T.S. 學習芭蕾舞。她在 倫敦演出《要求》，並參與了 P.A.R.T.S.《設定與重設》的演出。學成後參演夏洛蒂．范登 艾德的《開始／結束》，還自編自演了舞蹈《逝，儘管可能改變》。在參與羅薩絲舞蹈團的 2006 年的創作之前，她曾參演《雨季的愁思》。
Tale Dolven was born in Stavanger, in 1981. She studied ballet in Oslo and at P.A.R.T.S. She danced in Asking for...? in London and Set and Reset at P.A.R.T.S. After her studies she danced in Charlotte Vanden Eynde’s Beginnings. Endings, and choreographed and danced her own piece Gone. Although it might change. Before joining Rosas for the Creation 2006, she took over one of the roles in the Raga for the Rainy Season
史提夫．萊克 Steve Reich
音樂（雨）Music (Rain)
史提夫．萊克生於紐約。 1957 年以優異成績於康奈爾大學哲學系畢業。 1958 至 1961 年 間，在茱莉亞音樂學院學習， 1963 年獲得米爾斯學院音樂碩士學位。 1966 年，他創立 了自己的三人樂團，樂團成員數目迅速增至十八人以上，並於 1971 年開始國際巡迴演 出。他1988 年創作的《不同的火車》，開創了作曲新手法，榮獲格林美最佳當代作曲獎， 克羅諾斯四重奏於 1990 年灌錄此曲。
世界各大交響樂團和合奏團都演繹過萊克的作曲，一些著名編舞家也以 其音樂來編舞。 1999 年，他以《給十八個樂師的音樂》榮獲格林美最佳小型合奏曲獎。
2000 年，萊克獲哥倫比亞大學舒曼獎、達特茅斯學院蒙哥馬利獎學金、加州伯克萊大學 董事頒發的講師職位，還有加州藝術學院名譽博士學位。
萊克將於十月慶祝七十歲生辰，美國三大音樂機構 布魯克林音樂學院、卡內基音 樂廳及林肯中心 聯合籌劃長達一個月的慶祝活動，演出他的作品。
Born in New York, Steve Reich graduated with honours in philosophy from Cornell University in 1957. From 1958 to 1961 he studied at the Juilliard School of Music, and received his MA in Music from Mills College in 1963.
In 1966 Reich founded his own ensemble of three musicians, which rapidly grew to 18 members or more, touring internationally from 1971. His 1988 piece, Different Trains, marked a new compositional method and received a Grammy Award f or Best Contemporary Composition. Different Trains was recorded by the Kronos Quartet in 1990.
Major orchestras and ensembles around the world have performed his music, while several noted choreographers have created dance pieces to his music. He won a Grammy Award in 1999 for Best Small Ensemble for Music for 18 Musicians.
In 2000 he was awarded the Schumann Prize from Columbia University, the Montgomery Fellowship from Dartmouth College, the Regent’s Lectureship at the University of California at Berkeley, and an honorary doctorate from the California Institute of the Arts.
Reich, who will celebrate his 70th birthday in October, is being honoured by a monthlong celebration in which the Brooklyn Academy of Music, Carnegie Hall and Lincoln Centre have joined forces to present complementary programmes of his work.
約翰．科蘭 John Coltrane
音樂（愛的極至）Music (A Love Supreme)
約翰．科蘭1926 年生於北卡羅萊納州的哈姆萊特，自小他就活在音樂的氛圍中。父親會 彈奏好幾種樂器，這激發了科蘭對降 E 調小號及單簧管的學習興趣。高中時受萊斯特． 揚和尊尼．霍奇等人的音樂影響，轉而學習中音薩克斯管。之後，在費 城的格蘭奧夫錄 音室和奧恩斯坦音樂學院繼續進修音樂。
戰後，科蘭開始在埃迪．文森樂隊演奏次中音薩克斯管，跟樂隊成員占 美．希思的合 作，激發了科蘭創新和實驗的熱情。但令他演變出自己個人風格的契機，是1958 年跟邁 爾斯．戴維斯五重奏的合作。當時，他以使用三合一和弦手法而知名， 這種「成片的聲 音」，是同時彈奏多個音符的演奏方法。
到1960 年，科蘭已成立了自己的四重奏樂隊，並創作了爵士樂史上最有新意、最具表現 力的音樂作品，如他的走紅唱片《我的最愛》、《非洲銅管樂》，還有他的里程碑之作，展 示上帝的力量和光榮，愛和偉大的《愛之極至》。科蘭認為，所有人必須着意付出，為世 界帶來正面的改變。他的音樂也為喚醒人們的心靈，創造積極思維。 科蘭 1967 年死於肝癌。 1982 年，美國唱片業協會因他在唱片《再見黑鳥》的出色演奏， 追贈格林美最佳爵士樂獨奏獎。 1997 年，他獲唱片業協會頒發最高榮譽 終身成就 獎。
Born in 1926 in Hamlet, North Carolina, John Coltrane was always surrounded by music. His father played several instruments sparking Coltrane’s study of the E-flat horn and clarinet. While in high school, Coltrane’s musical influences shifted to the likes of Lester Young and Johnny Hodges prompting him to switch to the alto saxophone. He continued his musical training in Philadelphia at Granoff Studios and the Ornstein School of Music. After the war, Coltrane began playing tenor saxophone with the Eddie ‘CleanHead’ Vinson Band, and his work with Jimmy Heath was where his passion for experimentation began to take shape. However, it was his work with the Miles Davis Quintet in 1958 that would lead to his own musical evolution. During that period, he became known for using the three-on-one chord approach, and what has been called the ‘sheets of sound,’ a method of playing multiple notes at one time.
By 1960 Coltrane had formed his own quartet and created some of the most innovative and expressive music in Jazz history including the hit albums My Favourite Things, Africa Brass and his monumental work A Love Supreme, which attests to the power, glory, love and greatness of God. Coltrane felt we must all make a conscious effort to effect positive change in the world, and that his music was an instrument to create positive thought patterns in the minds of people.
John Coltrane died of liver disease in 1967.
In 1982, the Recording Industry Association of America posthumously awarded John Coltrane a Grammy for the Best Jazz Solo Performance for the work on his album, Bye Bye Blackbird . In 1997 he received the organisations highest honour, the Lif etime Achievement Award.
德賴斯．范諾滕 Dries Van Noten 服裝設計（雨、雨季的愁思／愛之極至）
Costume Designer ( Rain and Raga for a Rainy Season / A Love Supreme) 德賴斯．范諾滕 1958 年生於安特衛普，他在安特衛普皇家學院時裝系學習時已獨當一 面，為比利時和意大利的名牌設計服裝。他曾入選 1982 、 1983 和 1985 年金紡綞獎侫 賽。
1985 年，范諾滕開創了自己的事業，在安特衛普開了家小時裝店，專賣自己設計的服裝 品牌。 1998 年 10 月他榮獲佛蘭德斯社區大獎。他擅長糅合對立元素 簡單而不失精 緻，經典萖處處創新，並且保留了某些傳統特色。他運用微妙的差異， 為古典服裝賦予 其個人色彩。
范諾滕身為佛蘭德斯設計師，熱愛安特衛普，他的服裝生產㵟仍然大部 份設於比利時。 他亦分別為羅薩絲舞蹈團 1997 及 1998 年的演出《剛剛》和《擊鼓》設計服裝。
Dries Van Noten was born in Antwerp in 1958. He studied in the Fashion Department of the Royal Academy of Antwerp where he created collections for Belgian and Italian labels as a young independent designer. Van Noten has been a finalist for the Golden Spindle in 1982, 1983 and 1985.
In 1985, Van Noten launched his own business, presenting a limited collection in a small boutique in Antwerp. In October 1988, he received the Award of the Flemish Community. He excels in the art of marrying opposites simple with sophisticated, classical with inventive — whilst still ensuring the perpetuation of certain traditions. By using subtle discrepancies he puts his personal touch to garments of classical appearance.
As a Flemish stylist, Dries Van Noten is faithful to Antwerp and his production line remains for the most part Belgian. He has also created the costumes of Just before (1997) and Drumming (1998) for Rosas.
羅薩絲舞蹈團
總監 General Director
Kees Eijrond
藝術總監 Artistic Director
Anne Teresa De Keersmaeker
Administrator
Els Steegmans
Assistant to the Administrator and special projects
Hanne Van Waeyenberge
Financial Administrator
Etienne Bracke
Touring Administrator
Inge Pieters
Press and Promotion
Koen Van Muylem
Management Assistant
Griet Boddez
Assistant to the Artistic Director
Anne Van Aerschot
總經理 General Manager
Guy Gypens
Rehearsal Director
Lise Vachon
Costumes
Anne-Catherine Kunz
Reception
Johanna Buys
Technical Director
Freek Boey
Assistant Technical Director
Johan Penson
Technicians
Joris Erven
Jan Herinckx
Simo Reynders
Jitske Vandenbussche
Tom Van Aken
Kristof Van Dijck
Rosas is the company in residence at the Théâtre de la Monnaie, the Belgian national opera
Rosas is supported by the Flemish Ministry of Culture
www.rosas.be | mail@rosas.be