brussels

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

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