| ODYSSEY | ||
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Based on the Homers Odysseia and on James Joyce’s Ulysses, Odyssey is the crown on the collaboration between Beppie Blankert and Louis Andriessen. They made this dance concert in 1995/1996. In 2003 it was recreated in co-production with the Museum of Contemporary Art in Chicago. The composition for four soprano’s and the dance tell the love adventures of Odysseus during his ten year journey home to Ithaka. Penelope, the wife of Odysseus, tells her story with the words of Molly Bloom (Joyce’s personification of Penelope) while she is waiting for him to come home. The work is an example of the interest both Beppie Blankert and Louis Andriessen have in the symbioses of sensuality and detachment in which they find inspiration and structure to create. Played in the open air with four singers, three dancers and one actress, this extraordinary performance brings together the ancient, the old and the new. |
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| FEAST | ||
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Installation Performance with artist Julia Mandle In March 2003 the project 'Feast' by New York based artist Julia Mandle was performed in 'the Stable', located in DUMBO (down under Manhattan bridge overpath, in Brooklyn). The piece was created in collaboration with Beppie Blankert, and is based upon Plato's book 'Symposion'. For more information look at: www.jmandleperformance.org |
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| THE BABY IN THE BAR | ||
| The Ebony Band, an ensemble with musicians from the Royal Concertgebouw Orchestra, specializes in performing modern, unusual and adventurous music from the 20th century. When they found a score by Wilhelm Grosz (Vienna 1894 - New York 1939) which included a libretto (by Béla Balász) and choreographical notes, they asked Beppie Blankert to direct the piece. The result: a stunning and sometimes hilarious performance in the best dada tradition. |
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| DOUBLE TRACK | ||
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Double Track is a performance about waiting, or more precisely: the time before the making of a decision. Made in 1986, performed by Beppie Blankert herself and Caroline Dokter, the work was remade in 1999 for two male dancers: John Taylor and Christopher Steel.
The
remake
was
meant
to
present
the
work
for
a
new
audience
and
furthermore
as
a
choreographic
exercise
for
Beppie
Blankert:
is
it
possible
to
use
this
"tried
and
trusty"
concept
as
the
basis
to
create
a
new Double
Track?
Beppie
succeeded
to
stun
the
public
again
with
the
beautiful
choreography
and
her
witty
theatrical
concept.
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