Cliquez ici >>> 🐳 william forsythe a quiet evening of dance

4October 2018 - 6 October 2018 View Here In “A Quiet Evening of Dance”, William Forsythe takes the audience on a playful exploration of dance and style with a blend of former pieces and creations. Self-identified as “a native ballet speaker”, Forsythe demonstrates once a gain his wit in deconstructing its language and gracing it with new accents. While Presentedin two “Acts”, A Quiet Evening of Dance begins as just that, with the the first of Act 1’s four sections (Prologue) performed only AQUIET EVENING OF DANCE - WILLIAM FORSYTHE (Opéra/Ballet) - du mardi 11 février 2020 au jeudi 13 février 2020 - OPERA, Lille, 59000 - Toute l'info sur l'evenement . AQuiet Evening of Dance – William Forsythe. Figure emblématique de la danse contemporaine, William Forsythe fait un retour attendu à la scène, après une pause de quelques années. En 45 ans de création, il n’a cessé de bousculer notre manière de regarder la danse et malgré cette révolution permanente, il n’a jamais perdu de vue son point de départ : le Ballet. Groundbreakingchoreographer William Forsythe presents a vivid combination of new and existing work, performed by seven of Forsythe’s most trusted collaborators. The intricate phrasing of the dancers’ breath is the primary sound accompanying Forsythe’s choreography, which draws on the geometric origins of classical ballet and ranges from sparse analytic Site De Rencontre Agriculteur 100 Gratuit. Dans le cadre du festival d'Automne, le chorégraphe américain William Forsythe, habitué de l'Opéra de Paris, revient dans sa chère ville Lumière avec sa toute nouvelle création, “A Quiet Evening of Dance” – présentée jusqu'au 10 novembre au Théâtre du Châtelet. À cette occasion, retour sur la carrière de ce danseur et chorégraphe virtuose en trois évènements marquants. “A Quiet Evening of Dance” 2019 de William Forsythe © Bill Cooper On pourrait considérer que William Forsythe est à la danse ce que James Blake est à la musique plusieurs fois primés, ils partagent chacun une vision novatrice dans leurs disciplines. Ce n’est donc pas un hasard si leur collaboration sur la pièce Blake Works a remporté un grand succès, enflammant l’Opéra Garnier en octobre dernier. En plus d’être un habitué de l’Opéra de Paris, William Forsythe est surtout l’un des plus grands chorégraphes contemporains. Programmé au festival d’Automne depuis 2002 par sa directrice artistique Marie Collin, l’Américain qui a dirigé le ballet de Francfort pendant vingt ans de 1984 à 2004 n’a eu de cesse de faire tourner sa compagnie dans le monde entier. Souvent passé par l'Europe – notamment à Berlin, Rome et La Haye –, William Forsythe revient à Paris cette année, avec A Quiet Evening of Dance, une pièce où il est à la fois chorégraphe et danseur, alors qu’il s’apprête à célébrer son soixante-dixième anniversaire. “A Quiet Evening of Dance” 2019 de William Forsythe © Bill Cooper 2014 Le “Portrait William Forsythe” au festival d’Automne S'appuyant sur une décontruction des codes du ballet classique, les pièces de William Forsythe bouleversent les codes de la danse elles mettent le corps et la beauté plastique de chaque geste au centre de la création. À l'instar de ceux de son homologue américain Merce Cunningham, les spectacles de William Forsythe provoquent une onde de choc ils éblouissent et chamboulent ceux qui croyaient tout savoir de la danse. Celui qui a fondé sa compagnie en 2005, alors âgé de 56 ans, a pour habitude de plonger les spectateurs dans le noir le plus sombre ou la lumière la plus intense, de provoquer la chute des rideaux de scène en plein spectacle et de chorégraphier le déplacement manuel des projecteurs par ses danseurs. Habitué du festival d'Automne, dans lequel ses pièces sont programmées dès 2002 avec Kammer/Kammer, le chorégraphe est de nouveau invité à Paris en 2014 pour un projet d'envergure le “Portrait William Forsythe” au festival d'Automne. Dans neuf lieux en Île-de-France, six pièces sont jouées de début septembre à mi-décembre et offrent une traversée dans son oeuvre déjà colossale. De sa pièce la plus marquante, Limb's Theorem – créée en 1990 et réinterprétée par le ballet de l'Opéra de Lyon – où les danseurs gravitent autour d'un panneau en bois posé au centre du plateau, au solo Legítimo/Rezo – interprété par le danseur espagnol Jone San Martin – qui revient sur le processus de création chorégraphique, en passant par le tryptique Steptext, In The Middle, Somewhat Elevated et Neue Suite, le “Portrait William Forsythe” se révèle être le plus bel hommage qu'un festival de danse ne rende à un chorégraphe de son vivant. “Limb's Theorem” 2014 au théâtre du Châtelet dans le cadre du festival d'Automne 2017 Nowhere and Everywhere at the Same Time, N°2, les installations gigantesques de William Forsythe et Ryoji Ikeda Qui a déjà pensé visiter une installation d'art contemporain en chaussettes? Everywhere at the Same Time, créée par William Forsythe et Ryoji Ikeda à la Grande Halle de la Villette en 2017, exigeait que les visiteurs abandonnent leurs chaussures. Alors que dans un premier espace, le musicien et vidéaste japonais Ryoji Ikeda déployait au sol un vaste plancher numérique animé par des projections stroboscopiques, le chorégraphe invitait dans une autre salle les spectateurs à évoluer au sein d'une forêt de pendules aux mouvements imprévisibles. Déjà présentée à New York en 2005, Nowhere and Everywhere at the Same Time s'impose comme la rencontre entre art contemporain, performance sonore et chorégraphie William Forsythe la qualifiera d'“objet chorégraphique”, un véritable ovni dans l'oeuvre de l'Américain. Dans un entretien pour Numéro, ce dernier revenait sur le projet “D’un côté, j’espérais que la pièce pourrait fournir une sorte de cadre, de structure interne à l’architecture du lieu, de l’autre, elle fonctionnait comme une partition acoustique. Il y a environ six cents pendules suspendus à vingt chariots mobiles installés au plafond. La chorégraphie des chariots s’organise grâce à un contrepoint extrêmement complexe. Les spectateurs ne suivent qu’une seule instruction n’avoir aucun contact avec les pendules. Ils sont donc obligés de se livrer à une danse de l’évitement pour le moins intéressante. L’ensemble est aussi – et avant tout – composé à partir d’un point de vue musical, mais le résultat aboutit à un contrepoint kinesthésique. D’un certain point de vue, le calage et la coordination des chariots ressemble à la production d’un ensemble instrumental.” “Nowhere and Everywhere at the Same Time, N°2” 2017 à la Grande Halle de la Villette dans le cadre du festival d'Automne 2019 A Quiet Evening of Dance, le retour de William Forsythe à Paris William Forsythe est avant tout le chorégraphe de l'hybridation et du mariage des contraires. Dans sa dernière création, A Quiet Evening of Dance, l'Américain revient à ses premières amours les mélanges. Alors que ses interprètes – dont il fait partie – arborent des carrures et des postures de danseurs classique, ils effectuent sur scène des mouvements qui ont tout de la danse hip-hop, mais aussi des danses baroques et contemporaines. Les sihouettes se meuvent tantôt au sol ou sur pointes, les mouvements sont raides ou fluides et la rythmique est à la fois lente et saccadée. Le nom de la pièce, quant à lui, est équivoque ce sont presque une heure et quarante minutes de silence sur scène, pendant lesquelles les spectateurs admirent seulement des gestes exécutés à la perfection. Aussi silencieuse que les mouvements sont milimétrés, la pièce se révèle tout de même assez monotone. À croire que pour éblouir, la danse ne doit pas nécessairement se complaire dans une technique irréprochable. A Quiet Evening of Dance, une pièce de William Forsythe, jusqu'au 10 novembre au Théâtre du Châtelet, Paris 1er. “A Quiet Evening of Dance” 2019 de William Forsythe © Bill Cooper Review A Quiet Evening of Dance, Melbourne Festival The program booklet for William Forsythe’s A Quiet Evening of Dance has an entire paragraph in the choreographer’s biography dedicated to listing his lifetime achievement awards – such is the stature of this man. It wasn’t always so. Forsythe’s work was consistently controversial particularly in his native United States, from the time he took over the artistic direction of Frankfurt Ballet in the 1984 until well after he left it to run his own, rigorously experimental Forsythe Company. His choreographies were and are difficult, formally experimental to the absolute extreme, breaking both with the pleasing aesthetics of ballet and with the humanist bent of modern dance. The titles of his works are representative of his disinterest in playing by the book consider In The Middle, Somewhat Elevated 1987; Limb’s Theorem 1990, and One Flat Thing, Reproduced 2008. A review in LA Times in 1991 referred to him as “arguably the most controversial choreographer in international ballet”. In 2005, police raided his house after he presented a choreography that critiqued the war in Iraq. Forysthe’s work is contemporary dance that maintains an absolute allegiance to ballet. Bill Cooper The last ten or so years have seen Forsythe’s repertoire of key pieces reappraised with a vengeance. It is not entirely clear how this happened - and even the choreographer himself has spoken in amused tones about it. It is possible that time has lent clarity to his formal brilliance, or that his harsh, techno-cerebral aesthetic seems less unapproachable in the era of backyard drones. Either way, today, Forsythe is considered one of the greats of contemporary dance. Specifically, of ballet. This is an important and unusual distinction to make, because what we call “ballet” and what we call “contemporary dance” have been in philosophical opposition for at least the past 50-odd years. Contemporary dance has developed as a rebellion against the rigidity of ballet training, techniques and aesthetics, and today the two communities of dancers, institutions, and audiences coexist without a great deal of overlap. Read more Tree of Codes wields dance, music and art to create new spectacle Contemporary dance training is looser than the absolutely codified positions of ballet dancers and choreographers come from all backgrounds, including street dance, and late bloomers are not unusual unlike ballet, in which an early start is still a must. Forsythe, whose work is revered for its innovative and challenging nature, is a rare figure in contemporary dance to have maintained an absolute allegiance to classical ballet institutions, techniques and dancers. He classically trained and danced with Joffrey Ballet and Stuttgart Opera before he became a choreographer; and all but ten years of his long choreographic career have been spent within ballet institutions. This long preamble is to say however jagged, industrial and shapeless an evening of Forsythe choreography may seem to an eye used to Odette/Odile from Swan Lake, it is always grounded in ballet. “I feel like a native ballet speaker,” the choreographer has said. The vast experimentation with bodily organisation, composition, structure, that animates Forsythe’s work, unfolds through the vocabulary of five positions, pliés, and Petipa. Bill Cooper A Quiet Evening of Dance is a curated program of short pieces that premiered earlier this month at Sadler’s Wells in London and De Singel in Antwerp before coming to Melbourne Festival. Some of the pieces included in the program are old, others are newly created. Dialogue DUO2015 was originally an all-female duet created in 1996, re-choreographed in 2015 for Sylvie Gillem’s farewell program, and here re-offered on two male dancers. The impetus for the program was to give a longer shelf life to this virtuosic, but light-hearted choreography that borders on slapstick, in which two men circle each other, mimic each other’s movements, trip, fall, stand up. The delivery is easy when something is done with great skill, it appears as if it’s done without effort. That’s because it’s done with skill, and not effort. DUO2015, the centrepiece of the first half of the performance, is prefaced with a tryptich Prologue-Catalogue-Epilogue. The three short works, performed to not much more than birdsong and silence, serve almost as a primer to the rest of the evening. The first is a pas de deux in blacks and long white gloves, drawing all the attention to the dancers’ expressive arms, as if they were mimes. In the second, Jill Johnson and Christopher Roman, two fantastically skilled and surprisingly mature dancers, provide almost a mechanical sketch of ballet, by systematically performing the folding and unfolding of joints shoulders, elbows, wrists, pressure points, counterpoint, balance, swivel. It is like a lesson in the mechanics of ballet. Bill Cooper This becomes significant in the Epilogue, which introduces more complex geometries and human configurations, as well as the equally rigid vocabulary of break-dancing through the appearance of Rauf “Rubber Legz” Yasit, frequent Forsythe collaborator. The juxtaposition foregrounds the similarities of the two systems of movement; but more importantly, it foregrounds their nature as systems, their mathematics. Act 2 is an entirely new piece, Seventeen / Twenty-One which continues the same break-down of ballet to its most basic constituent elements, through juxtaposition with the movement sequences of break-dancing, but this time to a Baroque composition by Jean-Philippe Rameau. The effect is of a magic trick the curtain fall and reveal. Forsythe’s sparse, precise, denim-and-sneakers minimal choreography is now the 17th-century pas de troix, as courtly and codified as the Versailles of the Sun King. In one truly splendid moment, Yasit crosses the stage in a sequence of superbly executed street moves. Two of the ballet dancers look at him, point, turn away elegantly, like fauns in early ballet, only in jeans. The music gives a sense of rhythm, phrasing, tone and emotional narrative to the same choreographic movement that in Act 1 came across as dry, theoretical exercises. It is as if Forsythe has just shown us how it’s all done. Bill Cooper Both ballet lovers and ballet haters tend to associate the form with its Romantic period, Petipa and Tschaikovsky. But the immovable forms of this rigid dancing vocabulary were codified two centuries earlier, in the Baroque period. Pierre Beauchamps, Louis XIV’s dance teacher, codified the five positions of what was then still a dance of kings. Jennifer Homans in her recent book Apollo’s Angels refers to this moment as ballet’s “crucial leap from etiquette to art.” It was the time of the first development of modern science, of modern mechanics, of Voltaire and Descartes, of Enlightenment and of the first modern Constitution, a time that loved maths, structure and harmony. The exceptional longevity of ballet has preserved in its forms the DNA of that time. A Quiet Evening of Dance is Forsythe’s excavation of some of this history – surprising, amusing, but precise. A Quiet Evening of Dance is being staged as part of the Melbourne Festival until October 20. If anyone could be described as having “electrified” ballet, as having breathed new life into it and transformed it into a dynamic art-form ready to soar ever higher in the 21st century, that person would be William creates entire worlds using nothing but the human body, space and time, making dance an unprecedented experience for dancers and audience performance, an Onassis Stegi international co-production, includes two new pieces "Epilogue" and "Seventeen/Twenty One", two new versions of older works from Forsythe’s repertoire "Dialogue DUO2015" and "Catalogue Second Edition", plus "Prologue", an extract from "Seventeen/Twenty One".Dancers who have worked with him for many years narrate profoundly communicative stories with their bodies, their breathing the only sound accompanying them. Humour, sensitivity, provocation, response. Guiding them their rhythm and incredible coordination. Like the hands on an invisible clock, they record time, render it visible, expand and contract it by changing space and, ultimately, by opening the secret channel through which we communicate with it.“A Quiet Evening of Dance”Image1/4Photo © Carl FoxFriday 8 FebruaryAfter performance talk with dancers Cyril Baldy, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitChaired by Tassos Koukoutas, Dance TheoristCREDITSChoreographyWilliam Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit and Ander ZabalaThe dancers areCyril Baldry, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf RubberLegz’ YasitComposer/MusicMorton Feldman, Nature Pieces for Piano No 1’, from First Recordings 1950s – The Turfan Ensemble, Philipp Vandré © Mode for Epilogue’Composer/MusicJean‐Philippe Rameau, Hippolyte et Aricie Ritournelle, from Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 Deutsche Grammophon GmbH, Berlin for Seventeen/ Twenty-One’LightingTanja Rühl & William ForsytheCostumesDorothee Merg & William ForsytheProductionSadler’s Wells LondonCo-produced withThéâtre de la Ville-Paris, le Théâtre du Châtelet and Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Stegi; deSingel international arts campus AntwerpTechniciansDirector of technical ProductionsAdam CarréeProduction Company Stage ManagerBob BagleyElectrician/RelighterGerald McDermottFor Sadler’s WellsChief Executive & Artistic DirectorAlistair Spalding CBEExecutive ProducerSuzanne WalkerHead of Producing & TouringBia OliveiraTour ProducerAristea CharalampidouProducing & Touring CoordinatorFlorent TriouxMarketing ManagerDaniel KingSenior Press ManagerCaroline AnsdellWardrobe SupervisorMiwa MitsuhashiFirst performed at Sadler’s Wells London on 4 October of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018William Forsythe has been choreographing for 45 years now. He has redefined ballet, transforming it from an art-form obsessed with repertoire into a dynamic, creative art free of all limitations. He is considered the most important choreographer of his evening’s seven dancers are among Forsythe’s closest and most trusted associates. Ideal performers, they can provide us with a profound, insider perspective on the physical work of ballet and shed light on Forsythe's life's work. The program is an international Onassis Stegi co-production.“Catalogue” was created for two ex-Forsythe dancers, Jill Johnson and Christopher Roman, who created their own company, the DANCE ON ENSEMBLE. Forsythe describes the project as "complex, almost Baroque". In this updated version, it becomes a trio with the addition of the talented Brit Rodemund, who is collaborating with Forsythe for the first time.“DUO2015” was originally created in 1996 for two dancers who would only use the front part of the stage. Today, it is danced by two male new version was premièred in 2015 and was subsequently included by Sylvie Guillem in her farewell programme. Guillem collaborated with Forsythe at a historic moment of his career on “In the middle somewhat elevated”, which he created in 1987 for the Paris Opera Ballet, then under the direction of Rudolf Nureyev. With its electrifying atmosphere and eccentric equilibria, its pulse and constantly shifting relationships, the choreography would change the course of dance forever and turn both the choreographer and his dancers Sylvie Guillem, Laurent Hilaire, Isabelle Guérin and Manuel Legris into instantly-recognizable mediaIf you want to enjoy embedded rich media, please customize your cookie settings to allow for Performance and Targeting cookies. Your data may be transferred to third-party services such as YouTube, Vimeo, SoundCloud and Cookies photo Bill Cooper Pour A Quiet Evening of Dance, le chorégraphe retrouve avec gourmandise une technique classique qu’il aura longtemps désossée, fracturée, déstructurée. Et il affirme tranquillement Mon but est de mieux faire voir l’art du ballet ». Parti de l’analyse du mouvement de Rudolf Laban, alimenté par les lectures de Derrida, Deleuze ou Foucault et parallèlement à sa complicité avec l’architecte Daniel Libeskind, Forsythe avait entrepris une déconstruction en règle de l’art du ballet depuis ses origines jusqu’à son apogée. C’était aussi l’époque où, directeur du Frankfurt Ballet, il disposait de nombreux danseurs avant de radicaliser son propos à la tête de la Forsythe Company. Mais depuis qu’il est à nouveau chorégraphe indépendant, il est revenu à son langage naturel avec la liberté de l’artiste qui a dépassé le temps des affirmations et n’a plus rien à prouver. Fidèle à sa méthode de travail, Forsythe a donné à ses danseurs des matériaux chorégraphiques que ceux-ci, à leur tour, ont développés. Et ce qui apparait durant cette Tranquille soirée de danse », c’est la capacité toute forsythienne à démarrer le mouvement de n’importe quel point du corps, – coude, genou, épaule-, à le faire exploser et à laisser proliférer les résidus en variations nouvelles et inattendues. Comme l’annonce son titre, la danse est le véritable sujet de cette soirée. Pas de décors, des costumes sobres, mis à part quelques taches de couleurs aux bras et aux pieds, peu de musique, bref, rien qui puisse détourner l’attention requise pour apprécier pleinement ce Quiet Evening of Dance. A Quiet Evening of Dance Chorégraphie William Forsythe Avec Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit, Ander Zabala Compositeur / Musique Morton Feldman, Nature Pieces from Piano From, First Recordings 1950s – The Turfan Ensemble, Philipp Vandré © Mode for Epilogue Compositeur / Musique Jean‐Philippe Rameau, Hippolyte et Aricie Ritournelle, from Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 Deutsche Grammophon GmbH, Berlin for Seventeen/Twenty One Conception éclairage Tanja Rühl and William Forsythe Conception costume Dorothee Merg and William Forsythe Conception sonore Niels Lanz Production Sadler’s Wells London Directeur artistiques et chef exécutif Alistair Spalding CBE Producteur exécutif Suzanne Walker Chef de production et de tournées Bia Oliveira Producteur principal Ghislaine Granger Coordinateur de production et de tournées Florent Trioux Directeur Marketing Daniel King Responsable presse Caroline Ansdell Superviseur costumes Miwa Mitsuhashi Équipe technique Directeur de production Adam Carrée Responsable de tournées et de production Bob Bagley Régisseur lumière Pete Maxey Ingénieur du son Simon Lambert Coproduction Festival Montpellier Danse 2019, Théâtre de la Ville – Paris, Théâtre du Châtelet et Festival d’Automne à Paris, Les Théâtres de la Ville de Luxembourg, The Shed – New York, Onassis Cultural Centre-Athens, deSingel international arts campus Anvers William Forsythe est lauréat du prix FEDORA – VAN CLEEF & ARPELS pour le ballet 2018. Production Sadler’s Wells London Ce spectacle a reçu le soutien de FEDORA Montpellier Danse 2019 Mar. 2, Mer. 3, Jeu. 4 et Ven. 5 Juillet à 20h Opéra Comédie Théâtre du Châtelet DU 04/11/19 AU 10/11/19 Opéra de Lille Février 2020 ma 11 20h, me 12 20h, je 13 20h William Forsythe is bringing his multi-faceted genius to New York City in stripped down form. His “Quiet Evening of Dance,” a mix of new and recycled work now at The Shed until October 25, is co-commissioned with Sadler’s Wells in London and a slew of European presenters. As always, Forsythe’s choreography is a layered experience, both kinetic and intellectual. This North American premiere prompted many thoughts, which I whittled down to seven. Watching them work Forsythe introduced the evening by thanking the audience for coming “to watch us work.” And the work is fascinating. The first half of the program, several duets in near silence bird twittering plus Morton Feldman’s “Nature Pieces from Piano No. 1”, draws your attention to the deliciously erratic movement. The dancers make you care about each attenuated shape, each elbow jab into negative space, each sly-but-energized glance at a partner. Although they never settle into unison, they seem to ride the same electric current. As the pace speeds up, slows down, goes haywire, they focus on this shared current, not on the audience. Watching them play In the second half, with music by the 18th-century composer Jean-Philippe Rameau, the mode shifts from work to play. Now, they open up to us, the audience. They are dancing for us, and that conspiratorial wink between them is gone. Or is it? As the 10 dancers careen around the stage in trios or larger groups, this section seems to be a sly spoof of performance itself. It’s about the dancers The dancers have the freedom to be entirely themselves. In an interview included in the program notes, Forsythe says, “The dancer is absolutely everything.” We get to imbibe the assured fluidity of Jill Johnson, the sometimes comic buoyancy of Brigel Gjoka, the impish quality of Ayman Harper. Forsythe trusts the dancers to take the material and run with it—briefly. So we see short spurts of improvisation that might take a dancer skittering around the room in escape from a tight duet. Jill Johnson and Brit Rodemund Mohamed Sadek, Courtesy The Shed A space for seeing The intimate yet expansive Griffin Theater allows us to really see this complex dancing and the choreography. Many of Forsythe’s productions at Brooklyn Academy of Music, whether with Ballett Frankfurt or The Forsythe Company, have incorporated text, video, acting and/or large props. See BAM digital archive to trace his productions there since 1998. Those works were thrilling for what one might call big edginess. But with “Quiet Evening,” Forsythe has returned to pure dance. Okay, I know that’s a term from the ’70s, but I happen to find it exciting when dance itself surges into the foreground. Meshing/messing with a b-boy Forsythe is a master at integrating different genres into his choreography. This time, Rauf “Rubber Legz” Yasit, with his own brand of b-boying, contributes extremes of pretzelization—different from, yet compatible with, Forsythe’s own extremes of balletic torque. In duets, Yasit helps create a symbiotic bundle of oddly tangled limbs. Non-binary costuming The costumes become more colorful as the evening progresses, with bright socks covering sneakers and equally bright long-sleeved gloves covering fingers. The gender-neutral aspect of these outfits is partly what puts the production into the post-modern category. It’s ongoing “This is not done.” This is what Bill told me at a post-performance gathering on Tuesday night. The dance changes a little bit every night. He is not into making masterpieces. He is into following his curiosity and the dancers’ ability to focus on a string of mercurial tasks. Like Forsythe’s entire artistic life, it’s about process.

william forsythe a quiet evening of dance