Ottone, Ottone

Halles de Schaerbeek

A woman in a short white dress, wearing a pair of wings, walks onto the stage. She sits on a chair in the corner, facing away from the audience. A man enters, smoking a cigarette, and leans against the back wall, posturing. For a moment, the scene seems frozen; as in an image by Edward Hopper, emotional distance seems measured by space. Shortly thereafter, the “angel” turns on a tape recorder and the music—Monteverdi’s L’Incoronazione de Poppea—begins. The lights come up on stage and the rest of the dancers enter. The introduction to Anne Teresa de Keersmaeker’s Ottone, Ottone, 1988, is an accurate prediction of what is to follow: an amalgam of texts and tones incorporating the mundane and the exceptional, the static and the mercurial. It represents an extremely ambitious undertaking by a choreographer who has consistently taken risks in her work.

On the surface, at least, Ottone, Ottone

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the December 1988 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.