More mouvements für Lachenmann (2008)
Choreography: Xavier Le Roy
Music: Helmut Lachenmann
2 duo of guitars: Gunter Schneider, Barbara Romen / Tom Pauwels, Günther Lebbing
String quartett: Annette Bik, Sophie Schafleitner - violin,
Dimitrios Polisoidis - viola, Andreas Lindenbaum - violoncello
Dramaturgy: Bojana Cvejic, Berno Odo Polzer
Technical Director: Raphael Vincent
Sound Engineer: Wolfgang Musil
Management/ Organisation: Vincent Cavaroc / Illusion & Macadam
Production: Le Kwatt, in situ productions
Coproduction: Centre chorégraphique national de Languedoc-Roussillon - Montpellier, Festival d'Automne - Paris, Festival Montpellier Danse 2008 - Montpellier, Le CentQuatre - Paris, Tanzquartier Wien and Wien Modern - Vienna
"Salut für Caudwell" was coproduced in 2005 by Wiener Taschenoper
With the kind support of Klangforum Wien.
After a choreography that reconfigured Lachenmann's music in our perception, Xavier Le Roy continues his research on staging the relationships between what can be heard, seen, gesticulated, moved, imagined around the bodies of music and its musicians. Apart from continuing collaboration with Marino Formenti, Gunter Schneider, Barbara Romen, Tom Pauwels and Günther Lebbing on "Schattentanz" and "Salut für Caudwell", this time he will be working with a string quartet as well as with the composer himself on one of his seminal compositions: "Gran Torso" (1971-1988). In "More Mouvements fuer Lachenmann" Lachenmann's thought behind his "musique concrete instrumentale" will extend from deconstructing a musical concert to the musical works themselves, cracked open to fracture and uncouple sounds and movements, events and silences, actions and stillness. A gradual transition in perceptual activities where as an audience member one discovers the potentialities to listen, not-listen, hear, not-hear, see, not-see, and experience a suggestion of a world outside the music itself. Le Roy's procedure resembles that which the French philosopher Jacques Rancière would call subjectivization - of both listener and musician. He extracts from the dominant modes of listening and music-playing in contemporary music that which remains yet under-explored: the body with all its senses.