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acquired an ever more classically rooted and exceptionally homogeneous vocabulary. In 1995 De Keersmaeker created Verklärte Nacht for the Schönberg programme Erwartung/Verklärte Nacht at La Monnaie. The following year, several elements from this production were further developed in Woud, three movements to the music of Berg Schönberg and Wagner. Also in 1995 Rosas and La Monnaie set up the international educational project PARTS., Performing Arts Research and Training Studios, directed by Anne Teresa De Keersmaeker. In the course of its three-year curriculum the students are trained in all major dance techniques. But this is a dance school with a difference, as it also pays close attention to music and theatre, and aims to protide a sound intellectual background At the end of 1997 De Keersmaeker once again gave her love of music free rein in Just before, comprising works of Magnus Lindberg, John Cage, Yannis Xenakis, Steve Reich, Pierre Bartholomée, and Tmerry De Mey. In 1998 she built further on this musical trend in two different ways. She directed her first opera, Bartók’s Blue-Beard’s Castle, and in Drumming she once again used Steve Reich’s music as the foundation of a powerful, highly energetic and vigorously danced choreography. A more important aspect of Just before was the association of dance and text. Tippeke, the short film with which Woud opened, was perhaps a first step in this direction. In this film De Keersmaeker wanders through the woods while reciting a nursery rhyme. As is often done in such poems she links specific movements to key words in the text .Just before was a first major stage in the exploration of the joining of text and dance, sense and movement, language and the body. In this study Anne Teresa De Keersmaeker was assisted by her sister, Jolente, a member of Tg. Scan. Three more stages followed In March 1999 a female dancer from Rosas and an actor from STAN perform together in Heiner Mülleri s Quartett, followed in May 1999 by I said I, a choreography studying in more depth the relationship between text and movement through Peter Handke’s text Selbstbezichtigung (SelfAccusation). In the year 2000 the work culminates in In real time, a large-scale project in which all Rosas dancers, all Scan actors and the musicians of the jazz band Aka Moon are gathered on stage. 2001 saw the return to pure dance, with Rain, set to Steve

Reich’s open and optimistic score of Music for 18 musicians. Later that year, Small hands (out of the lie of no) meant the return to intimacy - a choreography danced by Anne Teresa De Keersmaeker and Cynthia Loemij, on an oval stage surrounded by the audience. In 2001-2002 Rosas celebrated its 20th birthday, and its 10 years as company in residence at the Monnaie theatre, the Belgian national opera in Brussels. Many events took place in Brussels: the “text pieces” were restaged, there was a festive Repertory Evening, repeat performances with live music of Drumming and Rain, and a big new creation: (but if a look should) April me. In November 2002, Anne Teresa De Keersamaeker danced her second solo after Violin Phase, part of Fase: Once, setto Joan Baez’ln Concert Part 2 from 1963. The festivities around twenty years of Rosas were concluded by the publication of 336 page book about Rosas and a big retrospective exhibition in the Brussels Palais des Beaux-Arts. In 2003, the new group creation Bitches Brew / Tacoma Narrows was the first Rosas production based largely upon improvisation, to Miles Davis legendary album Bitches Brew. Entirely new was the fact that dancers were also allowed to improvise during each performance within a set time and space frame. In the 2004 creation, Kassandra, speaking in twelve voices, Anne Teresa took up again with her sister Jolente from Tg. Stan; the result is piece where text takes central stage, with hardly any music. (Dominike Van Besien) ANNE TERESA DE KEERSMAEKER Belgian choreographer Anne Teresa De Keersmaeker (“1960 in Mechelen, grew up in Wemmel) studied from 1978 to 1980 at MUDRA in Brussels, the school linked to La Monnaie and to Maurice Béjartis Ballet of the XXth Century. In 1981, she attended the Tisch School of the Arts in New York. Meanwhile, she presented her first production, Asch (1980), in Brussels. On her return from the U.S.A. in 1982, she created Fase, four movements to the music of Steve Reich. This production was immediately invited by various international festivals. The success of Fase contributed largely to the foundation of the company Rosas in 1983. Rosas danst Rosas - Anne Teresa De Keersmaekeris first choreography for the young company to new compositions of Thierry De Mey and Peter Vermeersch - brought Rosas the international breakthrough. During the eighties, Rosas was supported by Kaaitheater of Brussels (director Hugo De Greef). Within the framework of Kaaitheater, her oeuvre took shape. Performances such as Elena’s Aria (1984), Bartók/Aantekeningen (1986), a staging of Heiner Müller’s triptych Verkommenes Ufer/Medeamaterial Landschaft mit Argonauten (1987), Mikrokosmos-Monument Selbstporträt mit Reich und Riley (und Chopin ist auch dabei)/In zart fliessender Bewegung - Quatuor Nr. 4, (1987), Ottone, Ottone (1988), Stella (1990) and Achterland (1990) were produced in collaboration with Kaaitheater. In 1992, La Monnaie’s general director Bernard Foccroulle invited Rosas to become the resident company of Brussels’ Royal Opera De Munt/La Monnaie. At the start of the residency, Anne