Crowd by Gisèle Vienne (France)

CROWD Gisèle Vienne

1 & 2 Jun Sat & Sun, 8pm Victoria Theatre 1h 30m, no intermission

Photo by Barbara Braun/MuTphoto

(France)

MESSAGE FROM THE FESTIVAL DIRECTOR When I was appointed as the new Festival Director for Singapore International Festival of Arts (SIFA) last year, one of the central tenets of the curation process we put in place was to present work by game-changing artists.

From the outset of my three-year tenure, it was important to me that SIFA challenges audiences intellectually, emotionally and artistically, allowing them to experience works they would not normally have a chance to see in Singapore.

Last year, I found myself huddled amid the sand dunes and pine forests of Terschelling Island off the north coast of The Netherlands, to watch Bedtime Stories, a brilliant one-man show which we are bringing to SIFA this year.

It reminds us that powerful stories can be told with the simplest of tools - in this case, the actor’s voice. Or through elaborate work such as the cross-cultural, multi-faceted Dionysus

by Tadashi Suzuki. Game-changing artists and work exist everywhere – it is our mission to find them and bring them to you.

This season, SIFA 2019 is proud to present provocative and challenging works by artists from Singapore and abroad. Our local Festival commissions explore contemporary issues and daringly bring to the spotlight lesser-known facets of Asian history and culture. Toy Factory will realise its innovative re-interpretation of a beloved Ming play. Checkpoint Theatre delves into the realities of the humanitarian aid industry, while Singaporean artist Ho Tzu Nyen investigates some of Southeast Asia’s most shadowy historical figures.

On the international front, SIFA is delighted to welcome to our shores works by worldrenowned theatre directors Tadashi Suzuki and Simon McBurney, legendary musicians Ryuichi Sakamoto and Bill Frisell, and groundbreaking choreographers Gisèle Vienne and Sasha Waltz.

SIFA 2019 audiences can also expect to see a greater range of multidisciplinary work that defies easy classification, from pushing boundaries between theatre and dance in ST/LL by Japanese artist Shiro Takatani, to the use of virtual reality and binaural sound in Frogman by UK company curious directive.

SIFA will also present Silo Theatre’s Peter and the Wolf for families, as well as free outdoor performances in non-traditional venues for audiences of all ages.

Festival House will be back this year, as the epicentre of SIFA 2019. Here, audiences and artistes can extend their engagement with the Festival beyond the performance, as well as engage with each other, through a range of talks, workshops and master-classes to delve deeper into the themes and perspectives of each show.

SIFA 2019 would not have been possible without the support of CEO Sarah Martin; our three extraordinary producers – Junmin, Rydwan and Sara; and the phenomenal team at Arts House Limited. I would like to thank each of them for their dedication and passion.

Finally, I would like to warmly welcome you, our audience, to SIFA 2019. We look forward to taking you on this exciting journey with us.

Gaurav Kripalani Festival Director

MESSAGE FROM THE CEO What does the Singapore International Festival of Arts (SIFA) mean to you? A doorway to the world’s performances out there? An escape from the routine of everyday life?

An opportunity to indulge your curiosity? Or something more?

It would not be unusual for each of you to take away something different from the Festival.

When I look back at my years attending the Festival, what stands out in my memory are thrilling moments of discovering a work or artist that slowly built my own love for festival making.

In everything we do, SIFA brings audiences and artists on a personal journey, creating a shared experience across different touch-points with a wider community of art lovers, international and local artists.

Every edition of the Festival is also unique and contributes to the development of Singapore’s cultural landscape. 2018 was an encouraging year, with SIFA seeing heartening growth in the number of new – and especially – younger audiences. I believe this is a testament to the success of Festival Director Gaurav Kripalani’s balanced curatorial approach, emphasising diverse works with multiple levels of accessibility.

In 2019, the 42nd Singapore International Festival of Arts will continue to enrich the spectrum of audience experiences with a diversity of artistic genres and innovative platforms. Over 17 days, SIFA will showcase a spectrum of world-class performances by game-changing artists, alongside a range of distinctive multi-disciplinary works.

As one of the cultural peaks of Singapore’s arts calendar, the Festival will allow audiences to engage with a fascinating range of contemporary issues and create avenues for critical dialogue. The Arts House will once again transform into our Festival House, a unique gathering point to share ideas and viewpoints and to engage with the artists on a more intimate level.

Working behind the scenes at SIFA are many passionate individuals who have been critical to the Festival’s success over the years. I would like to take this opportunity to thank everyone who has played their part in shaping SIFA, and to Gaurav for leading the Festival to new artistic heights.

I hope you leave this year with a fresh perspective of what the Festival means to you, and with wonderful memories of your own personal discoveries.

Sarah Martin CEO, Arts House Limited

ABOUT THE PRODUCTION Crowd is choreographer-director Gisèle Vienne’s deep dive into the dark side within us. Inspired by the techno rave scene of 1990s Berlin, 15 dancers create temporal distortions, alternate realities and dreamscapes, exposing the core of our “inner selves”.

With a background in music, puppetry, philosophy and the visual arts, Gisèle Vienne is recognised for her unique theatrical language that melds a fine arts sensitivity with a cinematic eye.

In Crowd, Vienne unleashes the cathartic power of the stage and draws you irresistibly into its scenes of visual anarchy. Lifting the curtain on the everyday identities of 15 young revellers at an open-field rave party, Vienne lays bare their individual and collective emotions to confront us with the buried side of their inner narratives.

Driven by a mesmerising electronic dance music selection including techno anthems spanning from Underground Resistance to Jeff Mills, the uncanny movements of bodies, together with rhythmic distortions and optical effects, plays tricks with the viewer and makes our linear perception of time stand still.

Don’t miss this hypnotic work – at once an intoxicating musical outing, a visual feast, and a searing dissection of the violence at the heart of the modern human condition.

Programme Partners:

CHOREOGRAPHER’S MESSAGE Crowd is about a party – it is an emotional rollercoaster in which the physical state of the performer and the physical experience of the audience are central concerns.

The staging of this group of 15 dancers fits within the question of intimacy and its relation to the group, and the relationship between individual and collective emotions. The people who go to this party and form a community are prepared to experience particularly intense emotions of a different kind, and reach a state where their senses are already very much heightened.

Each body is a full story, a whole book, which creates a very strong density of narratives. Even if you were to watch it several times, you would never be able to see everything.

I hope to trigger the same experience in Crowd – not in a frustrating way, but in a very exciting way.

Photo by Barbara Braun / MuTphoto

Gisèle Vienne

CAST & CREATIVE TEAM Conception, choreography and scenography Gisèle Vienne Stage assistants Anja Röttgerkamp and Nuria Guiu Sagarra Light Patrick Riou Dramaturgy Gisèle Vienne and Dennis Cooper Music selections from Underground Resistance, KTL, Vapour Space, DJ Rolando, Drexciya, The Martian, Choice, Jeff Mills, Peter Rehberg, Manuel Göttsching, Sun Electric and Global Communication Edits and playlist selection Peter Rehberg Sound diffusion supervisor Stephen O’Malley Performers Philip Berlin, Lucas Bassereau, Sylvain Decloitre, Sophie Demeyer, Vincent Dupuy, Massimo Fusco, Rémi Hollant, Oskar Landström, Theo Livesey, Louise Perming, Katia Petrowick, Nuria Guiu Sagarra, Jonathan Schatz and Henrietta Wallberg Costumes Gisèle Vienne in collaboration with Camille Queval and the performers Technical manager Richard Pierre Set manager Antoine Hordé Sound engineer Adrien Michel Light manager Arnaud Lavisse Thanks to Margret Sara Guðjónsdóttir and Louise Bentkowski Production and touring Alma Office Anne-Lise Gobin, Alix Sarrade, Camille Queval and Andrea Kerr Administration Etienne Hunsinger and Giovanna Rua Producer DACM Co-producers Nanterre-Amandiers CDN; Le Maillon, Théâtre de Strasbourg – Scène européenne; Wiener Festwochen, Vienne; Le Manège Scène nationale de Reims; Théâtre National de Bretagne, Rennes; CDN Orléans/Loiret/Centre; BIT Teatergarasjen, Bergen; La Filature Scène nationale de Mulhouse With the support of CCN2 – Centre Chorégraphique National de Grenoble and CND Centre national de la danse. The Company Gisèle Vienne is supported by Ministère de la culture et de la communication – DRAC Grand Est, la Région Grand Est and Ville de Strasbourg. The company is supported by Institut Français for international touring. Gisèle Vienne is associate artist at Nanterre Amandiers CDN and at Théâtre National de Bretagne.

Detailed music credits Track selections in order of appearance: Underground Resistance: The Illuminator (Underground Resistance, 1995) KTL: Lampshade (exclusive, 2017) Vapour Space: Gravitational Arch Of 10 (Plus 8, 1993) DJ Rolando: Vibrations mix (Underground Resistance, 2002) - Underground Resistance: Sweat Electric (Somewhere In Detroit, 1994) - Underground Resistance: Twista (Underground Resistance, 1993) - Drexciya: Wavejumper (Underground Resistance, 1995) - The Martian: The Intruder (Red Planet, 1992)

- Underground Resistance: Code Red (Underground Resistance, 1993) - Underground Resistance: Lunar Rhythms (Somewhere In Detroit, 1995) - Underground Resistance: Hi-Tech Funk (Underground Resistance, 1997) Choice: Acid Eiffel (Fragile Records, 1992) Jeff Mills: Phase 4 (Tresor/Axis, 1992) Peter Rehberg: Furgen Matrix/Telegene (exclusive, 2017) Manuel Göttsching: E2-E4 (Inteam, 1984) Sun Electric: Sarotti (R&S Records, 1993) Global Communication: 14 31 (Ob-selon Mi-Nos) (Evolution, 1994)

AN INTERVIEW WITH GISÈLE VIENNE

By David Sanson for the Festival d’Automne à Paris 2017

With Crowd, you are continuing your examination of our fantasmatic universe and the relationship between art and the sacred, something that has characterized your productions from the very beginning.

However, isn’t this the first time that you are dealing with this subject in its collective dimension, and with such a large number of performers?

Up until The Pyre (2013) my pieces, regardless of the number of performers, have largely been about private space and superimposed intimacies through persons who are often rather isolated. Now, after The Ventriloquists Convention (2015), this is the second time that I’m depicting a group whose social activity and interactions play a central role. This group is certainly very different from that of the ventriloquists’ convention, since it’s a group of young people who have come together out of a desire for feelings of euphoria and out of a common interest in a musical genre, techno. The context chosen is that of a party. The staging of the group fits in nicely with the question of intimacy and its relation to the group, and the relationship between individual and collective emotions.

From the very beginning I’ve been interested in questions raised by sociologists, anthropologists, and philosophers on the relationship between the artistic and the religious and especially those thoughts and emotions which are improper, of their spaces of expression – archaic and contemporary, actual and potential. Whether it be eroticism, death, or violence, for example, these are issues that concern each of us and can disturb us, and might even jeopardize the community, depending on the way in which they are experienced.

With Crowd, there are often exhilarating aspects and outlets of expression of intensified emotions that develop through desire and the complex longing for love. The persons who go to this party, and thus form a community, are prepared to experience particularly intense emotions of any kind, and reach a state where their senses are already very much heightened. The group becomes excited by a piece where the structure and certain behaviors evoke various rituals. In the face of this emotional rollercoaster, the audience can likewise enter into a physical and emotional rapport with the piece.

What kind of place does music have in this work?

Peter Rehberg, who possesses an excellent knowledge of electronic music, proposed a number of tracks and on the basis of those I arrived at a selection for Crowd. He then did detailed work for the final mix.

I find it interesting that this selection in fact has a genuine historical relevance, since it’s made up of records that are important for the history of electronic dance music – works by musicians that are significant for the Detroit scene, among others, with Jeff Mills and other people from Underground Resistance, plus Manuel Göttsching, for example. The aim was to create a mix that covers an entire range of essential sounds that has been exciting for us over the last forty years.

Besides these tracks, which are used over the greater part of the production, there’s also an original piece composed by KTL (Stephen O’Malley and Peter Rehberg) and another by Peter Rehberg on his own.

And what is the role of Dennis Cooper’s text? You yourself have talked of a “subtext”…

The pieces – as is the world itself – are made up of different layers of texts, though not entirely. Language is not located solely in the realm of audibility. In Jerk (2008) the actor speaks throughout the entire play; with I Apologize (2004) very similar issues arise, although the same actor does not say a single word from the beginning to the very end. What Dennis Cooper and I have been passionate about, right from the start of our long collaboration, is the attempt with each project to reinvent new relationships to the text, to language, to speech, and to narration, and new ways of writing for the stage.

The “subtext” of Crowd is a text that is not audible but is partly intelligible. In Crowd, the fifteen dancers also constitute individual personae whose psychologies, imaginations, feelings, and histories are in each case very different. When you’re observing a party, there’s a huge number of “stories” that are unfolding right before your eyes; in Crowd there are histories and portraits of persons that Dennis has developed based on work done with the actors, which refines and influences the creation of the piece. This aspect of the piece brings to mind the process of mixing in music. It involves a mixing of narrations, as though you have fifteen different music tracks and you’re adjusting their respective volume levels, and thus a composition that allows the audience to have a key role in the way in which they will see and experience the piece.

This dissociation of the various planes – dream vs. reality, real vs. fantasy – that produces a feeling of time distortion is another characteristic of your work.

Photo by Estelle Hanania

Crowd has a very rich formal potential. One of the central components of this type of piece occurs by way of the multiple stylization of the movements and their montage. This is not an imitation of the movements reworked, but a very intimate interpretation guided by the emotions and the intentions that can motivate the performers, their attentiveness, and their greater reception of what is unfolding around them. I likewise work with subdivisions – at certain points the dancers are going to all be in the same type of stylization, a common language, and at others they will be in a different type of gesture. This creates a very rich range of rhythmical and musical vibrations resulting in a slightly altered perception that is somewhat reminiscent of a hallucinatory or hypnotic feeling, and still producing meaning. In fact, this musical and choreographic work itself allows a narrative work to be created. This play of rhythms provokes a very strong feeling of time distortion. These distortions are highly dynamic, while simultaneously stretching time, making it possible to observe the persons and situations from close-up, and to dissect their actions in detail. Various temporalities are superimposed, through the same movements, but also in their relationship to the music and lighting, whose relationship to time varies almost constantly.

BIOGRAPHIES GISÈLE VIENNE Choreographer & Director Gisèle Vienne was born in 1976. She is a Franco-Austrian artist, choreographer and director. After graduating in Philosophy, she studied at the puppeteering school Ecole Supérieure Nationale des Arts de la Marionnette.

She works regularly with, amongst other, writers Dennis Cooper and Catherine Robbe-Grillet, musicians Peter Rehberg and Stephen O’Malley and light designer Patrick Riou. Since 2004, she has choreographed and directed, in collaboration with the writer Dennis Cooper, I Apologize, Une belle enfant blonde / A Young Beautiful Blond Girl, Jerk, a radioplay, Jerk and Eternelle Idole.

Her other works include Kindertotenlieder, This Is How You Will Disappear, LAST SPRING: A Prequel, Showroomdummies #3 which is now part of the CCN-Ballet de Lorraine’s repertoire, The Pyre and The Ventriloquists Convention in collaboration with Puppentheater Halle.

Since 2005, Vienne has frequently exhibited her photographs and installations. She is currently working on a staging based on Robert Walser’s book Der Teich.

MUSIC KTL KTL is the band of Stephen O’Malley and Peter Rehberg based on the creation Kindertotenlieder. Their first album was released in October 2006.

PETER REHBERG Born in 1968, Peter Rehberg is an author and performer of electronic audio works based in Vienna, Austria. Rehberg has given live performances, both solo and collaborative, throughout Europe, North & South America, Japan and Australia. He has collaborated live and in the studio with, amongst others, Jim O’Rourke and Christian Fennesz, Stephen O’Malley, Gisèle Vienne, Peterlicker, Z’EV Russell Haswell, Florian Hecker, Meg Stuart, Chris Haring, Marcus Schmickler, Jade, Sunn O))), as well as being a member of MIMEO. His collaboration with Gisèle Vienne involved creating the music for I Apologize, Une belle enfant blonde / A Young Beautiful Blond Girl, Kindertotenlieder, This Is How You Will Disappear, LAST SPRING:

A Prequel, The Pyre, The Ventriloquists Convention in collaboration with Stephen O’Malley with whom he formed the band KTL, Jerk, a radioplay, Jerk solo for a puppeteer as well as for two other shows

by Etienne Bideau-Rey and Gisèle Vienne: Showroomdummies and Stereotypie.

STEPHEN O’MALLEY Stephen O’Malley was born in 1974 in New Hampshire, USA and raised in Seattle. He eventually spent a decade in New York and presently is based in Paris. As a composer and musician, he has been involved in hundreds of concerts and performances around the world since 1993.

O’Malley was a founding member of several groups including Sunn O))), Khanate, Aethenor and KTL amongst others. He is a frequent collaborator of many outsider musicians in various formations and in studio settings.

For Gisèle Vienne’s productions, he has created the music for Kindertotenlieder, This Is How You Will Disappear, LAST SPRING: A Prequel, The Pyre, Eternelle Idole and The Ventriloquists Convention in collaboration with Peter Rehberg (with whom he founded the band KTL). O’Malley has also worked together with film makers and visual artists in gallery installation work, most notably with the American sculptor, Banks Violette,on several pieces between 2005 to 2008.

LIGHTING PATRICK RIOU After several years studying at the Conservatoire de Musique of Toulon and training as a string instrument maker, Patrick Riou first started working in theatre with choreographer François Verret. He discovered his passion for dance performances with great lighting engineers such as Rémy Nicolas, Jacques Chatelet and Pierre Colomère. Those experiences allowed him to work in various fields of choreography.

Riou has created light designs for Joseph Nadj, François Raffinot, Karine Saporta, Kubilaï Khan Investigation, Catherine Berbessous and Angelin Preljocaj. He created the light design for the performances Showroomdummies by Gisèle Vienne and Etienne Bideau-Rey; for Gisèle Vienne, he has worked on I Apologize, Une belle enfant blonde / A Young Beautiful Blond Girl , Kindertotenlieder, Jerk, Eternelle Idole, This is How You Will Disappear, LAST SPRING: A Prequel, The Pyre and The Ventriloquists Convention.

Photo by Mathilde Darel

BIOGRAPHIES DANCERS PHILIP BERLIN Philip Berlin was born in 1991 and is based in Stockholm. Since 2010, he has been working within the field of dance and choreography. His recent collaborations involve, amongst others, ccap/Cristina Caprioli, Frédéric Gies and Louise Dahl. In 2015, Berlin and Dahl performed their work Loss of disinhibition at the Moderna Museet in Stockholm as part of the project 89+ co-curated by Hans Ulrich Obrist and Simon Castets.

Together with Ulrika Berg, he initiated the project SUNDAY RUN_UP in Stockholm, an initiative with the aim to provide room for artistic practices in social processes. He has worked with CCN Ballet de Lorraine in France, where he performed works by Merce Cunningham, Mathilde Monnier, Maria La Ribot and William Forsythe. Berlin has also taught at the Stockholm University of the Arts/DOCH.

LUCAS BASSEREAU Lucas Bassereau grew up in Paris. He was trained at the Conservatoire de Paris and joined the Training Cycle of PARTS from 2013 to 2015.

He worked in 2015 as part of the PET projects (Mousonturm/Frankfurt) for the creation of the play Lake in the Lobby with Alma Toaspern.

In 2016 and 2017, he also participated in the Festival of Lights, Lyon with the puppet company Picto-Facto. He also works on his own projects developing the duo Favorite Things co-created with Noé Pellencin. He has also danced in Noé Soulier’s Removing and The Waves.

SYLVAIN DECLOITRE Sylvain Decloitre was born in Lyon, France and studied at the Conservatoire of Paris. He has worked with Jean-Claude Gallotta, Olivier Dubois and Gerard & Kelly. He first worked with Gisèle Vienne in 2016 for the piece Kindertotenlieder. Their collaboration continued in Crowd in 2018. In 2017, Decloitre performed in Permanent Green Light, a Dennis Cooper and Zac Farley film. Alongside his activities as a performer, he has continued to pursue his studies in Philosophy.

SOPHIE DEMEYER Sophie Demeyer was born in 1982. She began her training at Montpellier CNR with Rita Quaglia and continued her studies in Angers at the Centre National De la Danse. She has worked with Annie Vigier and Franck Apertet (Cie les gens d’uterpan), Thibaud Croisy, Julien Prévieux and Geisha Fontaine et Pierre Cottreau.

VINCENT DUPUY Sports were a big part of Vincent Dupuy’s childhood which included ten years of artistic gymnastics and, later on, dance classes. In 2013, he joined the National Conservatory of Music and Dance in Paris and met many different artists. He trained there as a contemporary dancer and obtained his Professional National Diploma of Dance Performer.

He went on to become the 2016 winner of ADAMI Talents and participated in the revival of May B with the Compagnie Maguy Marin.

As an assistant director and performer with the Arthésic Company, he participated in the first project of this young collective, the adaptation of Miss Sarah Kane. In 2017 and 2018, he danced in A New Landscape, a creation by Hervé ROBBE and Crowd by Gisèle Vienne.

MASSIMO FUSCO Massimo Fusco studied contemporary dance at the Conservatoire National Supérieur de Musique et de Danse de Paris, taking contemporary dance, improvisation, composition, anatomy, music and dance history classes. He has collaborated with several choreographers such as Jean-Claude Gallotta at the Centre Chorégraphique National de Grenoble, Annabelle Bonnéry and François Deneulin, Hervé Robbe at the Centre Chorégraphique National Havre, Sarah Crépin and Etienne Cuppens, Joanne Leighton at the Centre Chorégraphique National Belfort and Clédat & Petitpierre. Fusco has been engaged in many touring projects: Pléiades by Alban Richard, D’après une histoire vraie by Christian Rizzo and CARE by Mélanie Perrier. As a dance teacher, he has refined its transmission tools through many workshops. He is also deeply involved in research and experimentation.

RÉMI HOLLANT Rémi Hollant was trained in theatre, which led him to the Conservatoire de Lille where he received his Diploma in Theatrical Studies. He later graduated from the Ecole Supérieure du Centre National de Danse Contemporaine, directed by Emmanuelle Huynh, adding dance experience to his theatre background. He then did an internship with the choreographer Trajal Harrel at the Impulstanz Festival in Vienna and worked with Lia Rodrigues, Julie Nioche, Kô Murobushi amongst others.

He also performed in Foray Forest by Trisha Brown. He collaborated with Katerina Andreou for Sable and with Olga Dukhovnaya for Etranger.

Hollant integrated the creations of the XXY Collective and joined the creation of the play Tirade, Kollektiv Sans Cible (Milena Keller) in Bern.

OSKAR LANDSTRÖM Oskar Landström was born in 1990 and graduated from the Royal Swedish Ballet School in Stockholm. He went on to work with Cullbergballet/Riksteatern, Unga Danskompaniet and Skånes Dansteater. He has worked with choreographers such as Björn Säfsten, Sebastian Matthias, Mia Habib, Ingri Fiksdal, Gunilla Heilborn, Anne Imhof, Virpi Pahkinen, Ben Wright and Martin Forsberg. Crowd is his first working collaboration with Gisèle Vienne.

THEO LIVESEY Theo Livesey began his dance training at the Centre for Advanced Training at Trinity Laban and with the Shoreditch Youth Dance Company.

He recently graduated from PARTS in Brussels, where he worked with various artists across many disciplines as part of a three-year training.

He was part of the creation Sonore from Compagnie Silenda. He joined Gisèle Vienne for her latest creation. He is also developing his own work under the name ‘Amphigory’, in collaboration with Jacob Storer. Their first piece, This page intentionally left blank, performed in Belgium, NEU NOW Festival in Amsterdam and at Art Basel in June 2017.

LOUISE PERMING

Louise Perming graduated from the Balettakademien in Stockholm in 2010. She has been working as a freelancer based in Stockholm. From 2014, she started working within CCAP and Choreographer Cristina Caprioli and danced in works such as ATT ATT, Sadness extended, Petrolio2, Trees and an ongoing project A Line_Up. She has also worked with choreographers such as Shumpei Nemoto, Björn Säfsten, Charlotta Öfverholm, Tromäki Dance Company, Maria Nilsson Waller and seasonal dance company NUDANS at the Göteborg Opera.

She also has a big passion for climbing and teaching yoga.

KATIA PETROWICK Katia Petrowick was trained at the Conservatoire National Supérieur de Danse de Paris, and there she performed for Marilèn Breuker, Stéphanie Chêne, Eric Senen, Dominique Boivin and Dominique Rebaud, Katalin Patkaï and Luc Petton. She studied as a clown at the Centre National des Arts du Cirque in 2008 and participated in the creation of the clowns trio La Mort… ça m’interesse pas! staged by Stéphanie Constantin.

In 2015 she joined the company Gisèle Vienne for the rerun of I Apologize and Kindertotenlieder, as well as for Crowd. Since May 2009 she has been co-director of the company L’Embellie Musculaire with the puppeteer Ombline de Benque, with whom she presented several creations for young audiences, CoNg COng coNG, Pull Over and Jogging, as well as performances in situ with Le Vestiaire, a research laboratory in dance and textile arts.

NURIA GUIU SAGARRA Núria Guiu Sagarra is from Barcelona and graduated from the Institut del Teatre where she also worked with young dance company, IT Dansa.

She has been working as a freelancer with projects and companies such as Cullbergbaletten, Gisèle Vienne, Ingri Fiksdal, Kobalt Works, Carte Blanche Dance Company, Kamuyot by the Batsheva Dance Company and Riksteatern, Jasmin Vardimon Company, La Veronal, amongst others. She is also interested in choreography and has created a short piece as a commissioned work for Carte Blanche Dance Company. Her solo work PORTAL premiered at the Oktoberdans Festival in Bergen and later at Sala Hiroshima in Barcelona. LIKES, her latest solo work, is part of Aerowaves 2018. She has also worked as a choreographer assistant and collaborator with Arco Renz (Kobalt Works) for four years for projects developed in Asia such as Cambodia, The Philippines, Vietnam and Korea.

As well as performing in Crowd, Sagarra also assists Vienne in Crowd.

JONATHAN SCHATZ Jonathan Schatz was born in France in 1984 and is a dancer and choreographer based in Brussels. After studying at the Ecole de l’Opéra national de Paris, he studied at the Conservatoire National Supérieur de Musique et Danse de Lyon and then at the Centre national de danse contemporaine in Angers where he met Marianne Baillot. He collaborated with her for two years and conceived various performances. In 2007, he created Ovo, a choreographic laboratory for four performers which questions the notions of decomposition, composition and twirling. In 2009, he joined the cast of Kindertotenlieder

by Gisèle Vienne and participated in the creation of This is How You Will Disappear in 2011.

HENRIETTA WALLBERG

Photo by Barbara Braun / MuTphoto

Henrietta Wallberg was born in 1990 in Göteborg, Sweden. She is a dancer, performance artist and actress working in Sweden, Denmark and France. Wallberg graduated from The Royal Swedish Ballet School in Stockholm in 2009. She has worked within a wide spectrum of the Swedish dance scene, moving between dancing, singing and acting on stage. Amongst others, she has worked with internationally-acclaimed stage manager, choreographer and performance artist Charlotte Engelkes, choreographer Virpi Pahkinen, and choreographer and performance artist Lotta Melin. Crowd is Wallberg’s first collaboration with Gisèle Vienne and DACM.

TICKET HOLDER PRIVILEGES

FLASH YOUR SIFA 2019 TICKET

TO ENJOY SPECIAL DEALS AT OUR PARTNER OUTLETS Empress

Kuro Izakaya

1 Empress Place, #01-03, Asian Cilivilisation Museum, S179555

3 Temasek Boulevard, #01-604/605, Suntec City Tower 3, S038983

10% off dine-in ala carte food and drinks purchased at EMPRESS.

Enjoy 15% off total food bill.

Esplanade Mall

OTC Café

Esplanade – Theatre on the Bay, 8 Raffles Avenue, S039802 Beware of Pity, ST/LL, Körper and Ryuichi Sakamoto ticket holders are entitled up to 15% savings on dining and shopping at Esplanade Mall on the day of performance. Visit www. esplanade.com for details.

House Pour @ Festival House

The Arts House, 1 Old Parliament Lane, S179429 Chill out and soak in the festival buzz at House Pour. Enjoy a glass of signature Housepour cocktail or a serving of ancho chicken tacos at only $4.20nett and all other items at 15% off.

In addition, complimentary premium ice cream in assorted flavours will be given out daily.

(Limited to the first 30 guests each day)

JW Marriott Singapore South Beach 30 Beach Road, S189763

Enjoy 25% off at Beach Road Kitchen and 15% at Akira Back.

100 Victoria Street, #03-01 National Library Building S188064 15% off food and beverages.

Privé ACM

1 Empress Place, #01-02 S179555 10% off dine-in ala carte food and drinks purchased at Privé ACM.

Paulaner Bräuhaus

9 Raffles Boulevard, #01-01, Millania Walk, S039596 SIFA 2019 ticket holders enjoy 20% off total bill when you dine in at Paulaner Bräuhaus.

The NCO Club

32 Beach Road, S189764 Enjoy 15% off dine-in ala carte food and beverage (Cool Cats, Madame Fan, Stags Room & Fish Pool)

Kith Café

Bras Basah: 51 Bras Basah Rd, #01-03A Manulife Centre, S189554 Marina Square: 6 Raffles Blvd, #02-49 S039594 Enjoy 10% off dine-in ala carte items purchased at KITH CAFÉ (Bras Basah, Marina Square).

Capital Zouk

3C River Valley Road The Cannery, #02-02, S179022 Enjoy free entry into Capital Zouk before midnight.

For more Festival deals, visit sifa.sg.

Unless otherwise stated, all promotions are valid till 2 June, Sunday. Not applicable with other promotions, discounts, vouchers and offers by credit or privilege cards. Ticket stubs presented must be in its original condition and e-tickets must be shown via electronic devices clearly. Management reserves the right to amend any promotional terms and conditions without prior notice. Merchants’ terms and conditions apply.

ABOUT SINGAPORE INTERNATIONAL FESTIVAL OF ARTS As Singapore’s annual pinnacle arts festival, the Singapore International Festival of Arts (SIFA) presents captivating and diverse works across theatre, music, dance, film and visual arts. First launched as the Singapore Festival of Arts in 1977, the festival has gone through several evolutions and inspired generations of arts lovers and practitioners.

Today, the highly-anticipated festival is a high-point on Singapore’s arts and cultural calendar.

Under the helm of Festival Director Gaurav Kripalani from 2018–2020, SIFA continues its festival mission to champion the creation and presentation of Singaporean and international works.

ARTS HOUSE LIMITED BOARD Chairperson Christine Ong Members Chong Yuan Chien Deborah Ho Eduardo Ramos-Gómez Kelvin Ang Kenneth Kwok Lynette Pang Madeleine Lee Maniza Jumabhoy Mok Wei Wei Ong Chao Choon Ong Choon Fah Sarah Martin (Ex-Officio)

SINGAPORE INTERNATIONAL FESTIVAL OF ARTS MANAGEMENT

Chief Executive Officer Sarah Martin Festival Director Gaurav Kripalani Chief Financial Officer Ng Soon Lee Head, Production Cindy Yeong Head, Marketing Jasmine Gan Assistant Head, Event Services Management Emma Izzabella Tagoe

PROGRAMMING Producers Sara Joan Fang Rydwan Anwar Ye Junmin Senior Manager Lisa Lip Manager Shridar Mani Assistant Manager Alicia Chong Festival Assistant Chong Xinyi

PRODUCTION

Production Manager Chan Silei Yo Shao Ann Production Co-ordinators Celestine Wong Melissa Chin Technical Co-ordinators Huang Xiangbin Ian Tan

Assistant Technical Co-ordinator Muhammed Muzzamier Bin Abu Bakar Production Assistants Chong Wee Nee Alexis Ho

MARKETING & TICKETING Senior Managers Elizabeth Wong Winnie Chan Managers Allison Lai Fiona Chua Senior Designers Hakim bin Rahim Md Firdaus bin Wari Executives Juliana Tan Shariffah Natasha Dinah Eriqah Azman Intern Chew Ying Ying

COMMUNICATIONS Manager Khairi Johann Jasmin Intern Jamie Buitelaar

PARTNERSHIP DEVELOPMENT Manager Norita Senin Executive Tan Yanru

EVENT SERVICES MANAGEMENT

Managers, Artist Logistics Carine Lee Syafiq Zulkepli Managers, Front-of-House Nura Osman Germaine Leow Manager, Back-of-House Hospitality Esther Goh Manager, Event Services Johnson Kee Manager, Special Projects and Operations Zalikha Mis’ari Executive, Front-of-House Kitty Kwan

FINANCE

Managers Vivian Gan Executives Aileen Ong Izyan Nooraini Bte Ramlee

HUMAN RESOURCE Manager Noraliza Ramli Senior Executive Elaine Neo

ADMINISTRATION

Centre Manager Lucas Chiew Executive Nor Limah Binte Ja’ffa

DON’T MISS THESE OTHER PROGRAMMES IN THE FESTIVAL Catch these award-winning films by acclaimed international directors!

ASIAN PREMIERE

DIAGNOSIS (Poland) Ewa Podgórska / 2018 / 78 min Polish, French with English subtitles 2 Jun, Sun 2pm Oldham Theatre General

Parental Guidance

SOUTHEAST ASIAN PREMIERE

DOMAINS (Japan) Kusano Natsuka / 2019 / 150 min Japanese with English subtitles 2 Jun, Sun 2pm Screening Room

SOUTHEAST ASIAN PREMIERE

LIGHT

+ YOUR FACE (Taiwan) Tsai Ming-Liang / 2018 / 18 min & 77 min SOUTHEAST ASIAN PREMIERE Mandarin with English subtitles 2 Jun, Sun 5pm Oldham Theatre

Parental Guidance 13

FREE ADMISSION DE RELAXERETTE

WE CAN DANCE

12 – 20 May & 22 May – 2 Jun, Daily, Various timings The Plaza, National Library Building

10 May - 2 Jun 2019 Daily, Various Timings The Plaza, National Library Building

Arjan Kruidhof and Explore-the-North (The Netherlands)

Daily tous les jours, featuring ScRach MarcS (Canada/Singapore)

FESTIVAL CLOSING CONCERT

with Singapore Symphony Orchestra Conducted by Joshua Tan Featuring Elena Wang, Julia Abueva and Sean Ghazi 2 Jun, Sun, 6pm The Shaw Foundation Symphony Stage

Join our mailing list and be kept updated on SIFA's happenings sifa.sg FOR MORE INFO, VISIT SIFA.SG Organised By

Commissioned By

Supported By

Held In

Matched By