“Legítimo / Rezo” at Berlin

Legítimo / Rezo @ b21, Berlin
13 + 14 July: 19:00 at dock 11 [maps]
Kastanienallee 79, 10435 Berlin

Legítimo/Rezo is in two parts – a stunning solo created by Jone San Martin and William Forsythe and a conversation through dance on the unique process of choreographic creation by William Forsythe with his dancers. Jone San Martín, who has worked with William Forsythe since 1992, immerses us in the creative process behind Forsythe’s choreography. Her body becomes a mediator between choreographic writing and interpretation, between guidelines and free improvisation. In defining the way William Forsythe works, she turns to Lawrence Durrell: “Truth disappears with the telling of it. It can only be conveyed, not stated.” (Clea, The Alexandria Quartet).


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Biographies

Jone San Martin Astigarraga, born in San Sebastian on the 22nd of May 1966. She lives In Berlin. Dancer , choreographer and teacher of the Improvisation Technologies developed together with William Forsythe. First she studied with Mentxu Medel in San Sebastian and then at the Institutt del Teatre in Barcelona and at Mudra International, the school of Maurice Béjart in Brussels. After working as freelance with José Vesprosvany and Jacopo Godani in Belgium she joint in 1992 The Ballett Frankfurt under the direction of William Forsythe until 2004, and the joint “ The Forsythe Company” until 2015. She was part of the first edition of Dance On Ensemble in Berlin and will also collaborate with the second edition. She has created several works and with the sólo/ conference, on Forsythe’s choreographic notation, “Legítimo/Rezo” she is touring all over the world. During all those years she has worked and collaborated with: William Forsythe, Nacho Duato, Jacopo Godani, Saburo Teshigawara, Fabrice Mazliah, Agnès Chekroun, Carlotta Sagna, Jan Lawers, Jan Fabre, Josh Johnson, Tim Etchels, Matteo Fargion, Rabih Morué, Deborah Hay, Jan Marteens, Ersan Mondtag, Johannes Wieland, Mikel R Nieto, Emanuele Soavi, Sussane Kennedy. Donostia 2016 gave her a “Carte Blanche” on scenic arts.

Mikel R. Nieto: “He records with his own microphones all over the world for more than ten years. His field recordings capture the sound space from multiple spots with the aim of recognise the sound identity limits of the place. His recording methods are a creative part of his sound creation process and therefore he builds his own microphones, looking for a creative and personal way of recording. His concerts and sound installations are distinguishable for the sound spatialization and for the privacy that is generated though the sound.” – by Federico Sancho

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