{"id":17901,"date":"2025-09-30T14:01:06","date_gmt":"2025-09-30T12:01:06","guid":{"rendered":"https:\/\/fransbrood.com\/?post_type=production&p=17901"},"modified":"2026-10-07T09:19:59","modified_gmt":"2026-10-07T07:19:59","slug":"gla55","status":"publish","type":"production","link":"https:\/\/fransbrood.com\/en\/productions\/gla55\/","title":{"rendered":"GLA55"},"content":{"rendered":"\n
10 movements to the music of Philip Glass<\/strong><\/h5>\n\n\n\n


Anne Teresa De Keersmaeker \/ Rosas, Ictus, BL!NDMAN<\/strong><\/p>\n\n\n\n

Certain \u201cearly works\u201d carry a very particular tone. They do not age, and continue to remind us of the surge of energy and radicality that accompanies the invention of a style. Today, Anne Teresa De Keersmaeker chooses, for the first time, to approach the beginnings of a giant of the minimalist adventure: Philip Glass<\/strong>. Radical and timeless, Glass\u2019 music stands out for its paradoxical blend of hyper-formalism and a call to trance.<\/p>\n\n\n\n

Music in Contrary Motion, Music in Fifths, Music in Similar Motion, Music with Changing Parts<\/em>: the four pieces selected by De Keersmaeker all date from 1969\u20131970<\/strong>, a highly fertile period in the composer\u2019s trajectory. They bear traces of a decisive encounter: during his studies in Paris a few years earlier, Philip Glass was engaged as an assistant by the Indian composer and sitar player Ravi Shankar. The latter asked him to transcribe his music into Western notation, a difficult problem that proved revelatory for Glass: \u201cI erased all the bar lines. And suddenly, I saw the flow of the rhythm that I hadn\u2019t seen before.\u201d It was at this moment that the young artist discovered the potential of music based on the combination of very brief patterns. This technique makes it possible to create a musical flow that is vertiginous and fast like a torrent\u2014both repetitive and unpredictable. <\/p>\n\n\n\n

Upon his return to New York in 1967, another artistic shock awaited Philip Glass. Sobriety and reduction had become the watchwords of American modern art, championed by visual artists such as Sol LeWitt, Richard Serra, and Donald Judd. This entire aesthetic adventure nourishes the project GLA55<\/em>. In it, Anne Teresa De Keersmaeker turns to a guiding principle that recurs throughout her career: to exploit to the fullest extent material reduced to its minimum<\/strong>. Added to this is the notion of trance, and the obsession with turning. Circles, spirals, and ellipses<\/strong> will play a central role in this ten-part work, along with the curve that geometers refer to as a lemniscate: the \u221e , the ribbon of infinity.<\/p>\n\n\n\n

For this occasion, Anne Teresa De Keersmaeker brings together six Rosas dancers and the musicians of the ensemble BL!NDMAN<\/strong> \u2014 whose 2024 recording of music by Glass (iCONS, The American Minimalists) was unanimously acclaimed by critics \u2014 as well as her long-time collaborators from the ensemble Ictus (for their sixteenth collaboration!).<\/strong>  They will share their converging approaches to the music of Philip Glass, in search of a transcendental experience and a practice of dance that, like the music that carries it, \u201cerases all the bar lines.\u201d<\/p>\n\n\n\n

GLA55 has a duration of 55 minutes and is presented in two different versions: as a blackbox performance, or in a standing circular configuration. Both can be performed either with recorded music or with live music.<\/em><\/p>\n\n\n\n

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