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To Sleep To Dream

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E A R F I L M S

Imagination Is The New Technology

An EarFilm is a film for the ears and imagination utilizing three key components:

Live story-telling, 3D sound and a Cinematic Score.

EarFilms is a company dedicated to a particular sonic format for storytelling. By using an advanced 3D sound system and blindfolding their audience to focus the senses, they create immersive, audio-‐only storytelling experiences, designed to empower and engage listeners’ imaginations without sight prompted visual imagery. EarFilms tell their stories through a combination of live narration and detailed pre-‐recorded soundscapes that create an atmospheric world similar to listening to, but not watching, a film. The company has developed this audio language alongside blind and visually impaired focus groups.

“Daniel Marcus Clark brought the hushed closeness of a campfire to a lively 300-seater theatre by the simple act of asking us to put on blindfolds.”  The Guardian

“A show of boundless imagination” The Times

"Stunning…Surreal and magical. Your imagination is left to run riot... A sensory experience like no other" The Argus

"We come to... remove our blindfolds and feel like we are awakening into a strangely new reality. A magical experience" The Brighton Magazine

For more information: http://vimeo.com/48705362, https://vimeo.com/105055793, https://vimeo.com/69243866

TO SLEEP TO DREAM

Exploring our relationship with dreaming and inspired by the endless possibilities of the human imagination, To Sleep To Dream is a tale of hope in darkness. Set in a dystopian world that could be a future vision of an Earth dominated by the impact of climate change, To Sleep To Dream imagines a society where dreaming is outlawed.

Part thriller, the tale tells of worker Jack Richards -‐ a man lost in the system -‐ who, after having a glimpse of a dream, begins seeing a symbol from his dream in his waking life. He follows it and finds himself in an underground group of resistance dreamers living beneath the city.  They reveal their discovery: buried deep beneath the layers of dreams, is a lost realm of existence. To find it, Jack must journey through his own subconscious and beyond. So begins an incredible adventure in Jack's bid to discover this magical realm and reclaim it for all. Haunting and magical, To Sleep To Dream explores what it means to dream big in a world that makes you feel small.

earfilms-imagery

“The imagery that was conjured up – effortless, like dreaming”,  “Incredible, beautiful and fascinating”, “Like making a movie that you can walk about and control what you see.”

POST- SHOW DISCUSSIONS

After each show, the EarFilms team host a group discussion with audiences about their imaginations and the nature of their imaginative experience. This is also a chance for audiences to ask any questions with the creators about the themes of the show and the production process.

imaginarium

THE IMAGINARIUM

The EarFilms Imaginarium is an exciting post-show installation that allows audience members to share their experiences with each other, the creators of earfilms, and the world! One of the most intriguing aspect of EarFilms is that everyone imagines and experiences the show in a totally unique way. We setup the Imaginarium with the intention of capturing these impressions and building a touring exhibition of the imagination.

To Sleep To Dream (PDF)
EarFilms-duet
credits to Steven Haywood
EarFilms-8192016 EarFilms - Hearing is Believing from EarFilms on Vimeo. EarFilms-ToSleepToDream EarFilms Brighton Festival 2013 from EarFilms on Vimeo. The EarFilms Experience from EarFilms on Vimeo.

To Sleep To Dream

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by Sam Forbes on 24th August 2015

To dream or not to dream? For the residents of Lhaytar, the only remaining city on an otherwise flooded Earth, the answer is definitively the latter. Not that they have much of a choice on the matter – the government has banned dreaming along with all other acts of personal creativity. 

Jack Richards doesn’t fit the narrative though. He dreams of a golden moth, a brown twisted structure and of other 'Realms' where he no longer dreams but seems to be awake. He finds others similar to him and together they choose to sleep, to dream, to dream perchance to revolt.

For us in the audience the answer is definitively the former. Not that we have much of a choice on the matter – on each seat is a blindfold and around the auditorium are twenty-three speakers.

We experience Jack’s story in complete darkness but are engulfed by sounds, three-dimensional aural stimuli that transport us to Lhaytar’s dystopian streets as well as the layers of dreams that Jack falls through every night. It is a singularly personal experience that necessarily changes with every audience member’s imagination. 

In the post-show discussion, it becomes clear that some see the story play out as a colour film; some as an animation; some in black and white; some as a series of still images; some as a kinaesthetic experience. Subjectivity, like no other show. Steve Fanagan’s sound design is perfect and Chris Timpson’s spatialisation ensures that no one is left out; everyone sleeps, dreams and imagines beautifully unique things.

For writer and director Daniel Marcus Clark, the answer is unclear. He sits on a stage throughout (we assume) and narrates the action. His voice is smooth and radio-worthy like no other. This is his story and he tells it like a master. He lulls us into accepting his world, even when his writing falls into a plot hole. 

The notion of 'writing' here though is completely at odds with the usual definition. The narration is sparse and sound fills the gaps: bubbles, scrapes, clanks, bleeps, radio waves, sound waves, water waves, thud bang scratch squeak siren hiss voice breath run shout breathe dream dream dream…

To dream or not to dream?

Have I already asked that? Or was that someone else? Everything recurs; we question our consciousness; do we sleep? Perhaps we dream. Perhaps. The 2015 Fringe comparison here is Fuel’s Fiction, which takes place in pitch-blackness, its story told via headphones and superficially personal narration. Whereas that show and it its predecessor Ring rely too much on the basic binaural concept and quickly boring quiet-quiet-BANG soundscapes, To Sleep To Dream invests us in a narrative and invites us into its world. Yet, because we are not constrained by headphones, we share an experience with those around us, our ears breathe together. Our perceptions change, together.

It is clear that earfilms are completely unique experiences, unlike anything you can hear or, indeed, see. And, like a dream itself, they remain absolutely within that moment: when the blindfolds come off, the images slip away, ethereal memories melting into the night. 

By Sam Forbes

This is Sam's second Fringe with Broadway Baby. He has gone through at least three iterations of this biography so far but he thinks it's in a good place now. He's probably wrong. Sam lives in Birmingham and writes about performance.

The Blurb

Sold out in NYC, Melbourne, California and Brighton, EarFilms award-winning production To Sleep To Dream comes to Summerhall and The Tom Fleming Centre as Part of British Council Edinburgh Showcase 2015. A unique cinematic storytelling experience. Blindfolded, seated in a 3D array of 23 speakers, lose yourself in a vivid soundscape storyworld with locations, characters and live narration that unfold around your ears and imagination. To Sleep To Dream tells the story of the last dreamers in a society where dreaming is illegal. ‘Stunning, surreal and magical. A sensory experience like no other’ (Argus[i/]). ‘Supernatural’ (Guardian).

Pageant

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  CoisCeim Pageant PDF Download

Swimming with my Mother

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CoisCeim Dance Theatre Presents: Swimming with my Mother (PDF)

DESH

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WINNER OF THE OLIVIER AWARDS IN THE CATEGORY BEST NEW DANCE PRODUCTION 2012

Available for limited touring in North America 

November/December 2014 and February 2015

 “Desh is a masterpiece, the best thing that he has ever done” – The Observer

“the most urgent, beautiful and confident work of his career” – The Guardian *****

“DESH is as transporting a piece of dance as I have ever seen. The first full-length solo contemporary work by Akram Khan - it is also his best show yet: poignant, thrilling, magical, moving and, throughout its perfectly judged 80 minutes, utterly transfixing.” – The Telegraph 

DESH, meaning homeland in Bengali, is a very personal work and to date it’s the most challenging and demanding of Khan’s project. Created after a year of intense research both in the UK and Bangladesh, and performed during the year Bangladesh celebrates 40 years of independence, DESH explores the idea of transformation of body, land, identity and memory, while examining the contradictions of Khan’s British-Asian identity. The artistic ambition for DESH is to produce a poetic and visual work that reflects the fragility, chaos and hope of the Bangladeshi society through Khan’s own body and voice. For this solo performance, he has teamed up with Oscar-winning Chinese visual artist Tim Yip (production designer for Crouching Tiger, Hidden Dragon), fellow Sadler’s Wells Associate Artist and lighting designer Michael Hulls, Indian writer and poet Karthika Nair and Olivier Award-winning composer Jocelyn Pook. 

 ‘Those transparent Dacca gauzes known as woven air, running water, evening dew.’ (Agha Shahid Ali)

Akram Khan Company is supported by COLAS.  Co-produced by MC2: Grenoble, Curve Leicester, Sadler’s Wells London, Théâtres de la Ville de Luxembourg, Concertgebouw Brugge. 

 

For more information: www.akramkhancompany.net

Media

DESH TRAILER from 2Luck Concepts on Vimeo.

March 6, 2011

  British-born choreographer Akram Khan is celebrated internationally for the vitality he brings to cross-cultural, cross-disciplinary expression. His dance language is rooted in his classical Kathak and modern dance training, which continually evolves to communicate ideas that are intelligent, courageous and new. Khan performs his own solos and collaborative works with other artists, and presents ensemble works through Akram Khan Company. cB: I was excited to find out that you are working on a piece scheduled for the 40th anniversary of Bangladesh’s Independence. Growing up in the UK, how do you relate to Bangladesh’s Liberation Movement – what were some of the stories of the movement that you grew up listening to? How has your Bangladeshi identity evolved over the years and how have you woven this identity into your new piece, if at all? AK: The ‘Bangladesh’s Liberation Movement’ happened during a period when I was still very young, so I was not aware of the struggle and the sense of patriotism that was deeply rooted in our house, in London. However, my mother did organize performances within the Bangladeshi community events, in which I performed regularly. Actually, I spent most of my childhood dancing short choreographies that portrayed the Harvest dance, the fisherman’s lives, I even danced pieces that reflected patriotic songs, that focused on memories of the language movement that had taken place on 21st February, 1952. At the time, I did not understand much about the reason, I just enjoyed being on stage, and moving to music. It is only until recently, that I have started to focus on the events and historical moments, that took place during the transition of the independence of Bangladesh, and thereafter. In terms of my identity, well, it is constantly shifting still today. However, I do not feel a deep sense of responsibility to help preserve Bangladeshi culture, or any other culture for that matter, because I wouldn’t know what defined a particular ‘culture’ anymore. I mean, most cultures have been contaminated in some way or another, and I am a ‘byproduct’ of that contaminated culture. So, I would not dare to preserve something that I was never directly part of, even if it is where my roots lie. Don’t get me wrong, my roots are an important part of my history, but my history is not what defines me, it is the present that defines my journey! My history only reminds me of what came before me, even if it is a large part of me. And only now, with the creation of the new piece called ‘DESH’, I am slowly learning about my parents’ culture. But I am only taking a few characters and events that are related to Bangladesh, because in all honesty, there is so much history in such a short time, and such incredible stories, that I will not be able to refer to all. And so for the time being, I am focusing, to a small degree, on the Nur Hossain story, and then on one particular fisherman’s story (well, it is a fictional story), and several other characters that are from Bangladesh but now live in the U.K.
    [image: Gnosis; photo credit: Laurent Ziegler] cB: Your parents are very supportive of your work and it was your mother who enrolled you in dance classes as a child. We all know that the Bangladeshi community is not particularly fond of unconventional career choices. More often than not it is a constant uphill battle for the artist or, any creative person, to try to make our community understand and accept our work.  On the flipside, these are the struggles that make us grow as a person and as an artist. Have you experienced these frustrations and, if so, to what extent have they affected and shaped your perspective as an artist? Do you feel that in some ways they may have even made you a better dancer/choreographer? AK: I would agree that, by the community not accepting my dance and music as a serious career choice, it pushed me to then fight for what I believed in. Sometimes, when somebody fights for something, there evolves an inner belief in what they are fighting for, that then propels them to be better than what they might have been without that conviction. So, it worked out to my advantage, but I am also at a point now that the only person I have to prove something to, is myself. But reflecting back, I must say that there are some people that are ‘dreamers’, and then there are others that are ‘believers’. And I feel that without the believers believing in the dreams of the dreamers, there would be no dream that would come into fruition. So here, I have to thank my parents for being absolute believers, not only in me but also in the arts, particularly my mother. She believed that art transcends and also erodes all borders – borders within religion, within cultures, within education, and more importantly, within oneself. However, if I did not have my parents’ blessings, I would not have made it this far. They were and are still crucial to my growth. cB: What advice would you give to a young Bangladeshi who wants to pursue an unconventional life? AK: No comment! I suppose my ‘no comment’, is a comment towards the way I feel about the uncertainties of choosing the path towards the unconventional life.  I am not sure what advice I can give, simply because we are all so different, hence, we respond to different challenges differently. It all depends on what those challenges are, and how that person reacts to those challenges. The question is.. ‘How badly do you want it?’ For me, I did not simply want to dance; I ‘had’ to dance! Without it, I would disappear into a statistical number. If anything, dance became my identity.     [image: Sacred Monsters; photo credit: Tristram Kenton] cB: You are known for exploring cross-cultural themes in your choreography – from being influenced by Japanese philosophy and aesthetics to working with the National Ballet of China. Have you considered incorporating Jatra or other traditional dance forms from Bangladesh? It is sad to see the demise of Jatra, which in its current form is so grossly corrupted. Any suggestions on how to start a Jatra performing troupe and take it on an international tour? AK: I have no idea about how to take ‘Jatra’ further than where it is, since it is not something I embodied as a child, and unfortunately, I know so little about it. To be frank, I become interested in a particular art form, when I recognize something within it, that reflects some part of me, and so a relationship takes place between my body and the art form, and I then move forwards towards learning and researching it. However, I hope I have an opportunity in the future to find that relationship between Jatra and myself. cB: I was reading about your collaboration with Sidi Larbi Cherkaoui on ‘Zero Degrees’. In one of Sidi’s interviews, he mentioned that you both drew from your experiences of being raised in Muslim families. Meanwhile your piece ‘Vertical Road’ addresses faith and life after death. What is your audience’s reaction when you bring a spiritual theme to your choreography? In your opinion, how do Muslim artists in the West deal with spirituality and Allah in their work? Is there a major tension or, do they draw positive inspiration from their beliefs? AK: Most often, we are received well by Muslim audiences, but I would have been able to elaborate in more detail if you asked me after June 2011, since ‘Vertical Road’ will be touring to places like Lebanon, Cairo, and Ramallah in April/May this year. I am very excited to learn about how they will respond, and to what they will respond to and why. I feel strongly about spirituality, and so in my humble opinion, what I admire about the notion of ‘spirituality’ is that it is a formless concept, that shifts its definition, depending on who is interpreting and experiencing it. So in ‘Vertical Road’, I wanted to stay true to that… hence, the narrative remains formless… Also, I was not so keen with this project to turn it into something too readable for the audience, because in the end, I feel you cannot ‘see’ spirituality, I would like to think that you can only ‘feel’ it. So the same goes with this piece! Its what the audience feel from the images and movements that they witness, rather than the dots that they try to connect to, in order to make it more comprehensible for them to read. Dance is predominantly about feeling something, from what they see, and not reading something from what they see! And so spirituality seemed like an obvious subject.     [image: Vertical Road; photo credit: Richard Haughton] cB: Are there any plans to bring the piece with the Bangla text to New York? I would love to see it and am also curious to know what text you are using. AK: There are some plans that are being discussed that ‘DESH’ will be presented in New Jersey in 2012, which is so close to New York. But its still provisional, and depending on certain dates being available. However, I am extremely excited to embark on this project, even if I don’t know the end destination yet! I suppose the piece feels a little like returning to some place that I may dare to call ‘home’. But in saying that, what is home? I always say ‘home’ is a place where you find yourself, even if you find yourself in a foreign land, but then again, sometimes I feel ‘home’ is a place where you have to escape in order to find yourself. So go figure!  I don’t have a definite answer, except the fact that I don’t have a definite answer! Thank you Akram for taking the time to talk to creativeBangladesh!  For more information on the Akram Khan Company, please visit their website here. ** CREDITS: 1st photo of Akram Khan is by Laurent Ziegler. All other credits accompany individual images. * 

Reviews

South China Morning Post 20 November 2011 by Natasha Rogai "powerful show which speaks to people of all ages and cultures" Review in pdf The Independent 10 October 2011 by Zoe Anderson "His dancing is mercurial, his characters superbly realised." (5*) The Independent 9 October 2011 by Jenny Gilbert "an enthralling journey to a young, imperilled land." The New York Times 7 October 2011 by Roslyn Sulcas "the best pieces that Mr. Khan has created." Daily Express 7 October 2011 by Neil Norman "vivid, humane and amazingly accessible exploration" Verdict: 4/5 Financial Times 6 October 2011 by Clement Crisp "dramatic honesty" (4*) Dance Magazine 6 October 2011 by Donald Hutera "Epic yet tellingly personal" The Arts Desk 6 October 2011 by Ismene Brown "Now when [Khan] dances, he doesn't just tell his own story - he tells all our stories." Evening Standard 5 October 2011 by Sarah Frater "technically ingenious, theatrically unsettling and emotionally unbearable" (4*) Daily Telegraph 5 October 2011 by Mark Monahan "best show yet... utterly transfixing." (5*) The Stage UK 05 October 2011 by Neil Norman "visually arresting and ultimately moving dance/drama that leaves you wanting more" The Times, UK 20 September 2011 by Debra Crane "mesmerising... the most extraordinary of collaborations" (****) The Observer, UK 17 September 2011 by Luke Jennings "A masterpiece, the choreographer's greatest show yet" Leicester Mercury 16 September 2011 by Louise Jenkins "thought provoking masterpiece" The Guardian, UK  16 September 2011 by Judith Mackrell "the most urgent, beautiful and confident work of his career" (*****) The Public Reviews (Website) 15 September 2011 by Farhana Shaikh "marvellous performance" Personal Review after watching DESH Preview 13 September 2011 by Anonymous Audience "I am not a bona fide critic, but...what Charlie Chaplin did for silent films in the 1920s, Akram Khan is doing for dance today. In an age of austerity, where our governments and corporations expect us to live in black and white, we get our fix of colour when we get to see wonderful creations like Desh. Best wishes..." BBC News, 8 September 2011 9 September 2011 by Jeff Russell "Akram is the king of contemporary dance, and if he played football, he would be Wayne Rooney."

DESH Technical Rider

DESH Technical Rider Sept 21st (PDF)

Vertical Road

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“Hugely inspiring and profoundly disturbing, terrible and beautiful at the same time.” The Stage - 17 Sept 2010

Akram Khan Dance Company journeys across boundaries to create uncompromising artistic narratives. It produces thoughtful, provocative and ambitious dance productions for the international stage. Akram Khan takes human themes and works with others to take them to new and unexpected places – embracing and working with other cultures and disciplines. The dance language in each production is rooted in Akram Khan’s classical Kathak and modern dance training and continually evolves to communicate ideas that are intelligent, courageous and new, bringing with it international acclaim and recognition as well as artistic and commercial success. Previous collaborators include the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, choreographer/dancer Sidi Larbi Cherkaoui, singer Kylie Minogue, visual artists Anish Kapoor and Antony Gormley, writer Hanif Kureshi and composers Steve Reich and Nitin Sawhney. WARNING: Strobe Light, Smoke, Loud Sound - Duration: approximately 70 minutes with no interval “An evening of rare intelligence and artistry” Financial Times | 9 October 2010

Technical Requirements

Vertical Road Technical Rider (PDF) VERTICAL ROAD US TOUR October 2012 5 & 6 –Royce Hall, UCLA Live, Los Angeles, CA 10 – Irvine Barclay Theatre, Irvine, CA 12 – Mondavi Center, UC Davis, CA 14 – Granada Theatre, Santa Barbara, CA 17 – Arlene Schnitzer Theatre, Portland, OR 20 – Byham Theatre, Pittsburgh, PA 23 & 24 – The Rose Theatre, Lincoln Center, New York, NY

Faun

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At the moment when the ensemble of splendid dancers in this world premiere are transformed into not one but six faun-like creatures, seated diagonally on stage in that iconic pose,  faces inclined to that imagined apocryphal afternoon summer sky, it became clear that choreographer David Bolger had brought it off. Yes, a bow to the master Nijinsky’s L’Apres-midi d’un Faune, but brilliantly very much his own work.  The Irish Times January 19, 2010

Nijinsky was worshipped as the greatest dancer of the twentieth century, but audiences rioted when they saw Nijinski’s first ballet, L’Apres midi d’un Faune, shocked by the shameless sensuality and revolutionary dance style. Mixing Debussy’s famous score with Queen, David Bolger explores how dance still reconnects us with our feelings and imagination and asks can we still break free?

“This faun is sensual, art deco-like, erotic and quite possibly the most beautiful contemporary dance you’ll see all year” – METRO “...bone-shakingly sexy ...playful, ...such a sensuous and beautiful experience to watch... a post punk piece...terrific” RTE The View “...fluid...fierce,...exquisite...superb” – The Irish Times Show contains some nudity.  Recommended age 14+

WEBSITE:  CoisCéim Dance Theatre

AnDa Union

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“Our music draws from all the Mongol tribes that Genghis Khan unified. We all have different ethnic backgrounds and we bring these influences into our music. There is a wealth of folk music for us to learn, so far our repertoire of songs is like a drop in the ocean” AnDa means approximately “blood brothers” in Mongolian. AnDa Union was formed in 2003; its 14 members all hail from the Xilingol Grassland area of Inner Mongolia, a semi-autonomous region of China. At the Inner Mongolia Ethnic Opera and Dance Theater, the members of AnDa Union studied the folk music they now perform and traditional instruments they now play, such as the horse-head fiddle or tsuur, an ancient bowed instrument. The ensemble members also play the maodun chaoer, a three-holed flute, as well as Mongolian versions of the dulcimer, zither, lute, and mouth harp. The main singing style performed by AnDa Union is khoomii, commonly referred to as throat singing, a traditional type of Mongolian overtone singing, which replicates the sounds of nature. AnDa Union are part of a musical movement that is finding inspiration in old and forgotten songs, drawing on a repertoire of magical music that had all but disappeared during China's recent tumultuous past. AnDa Union hold on to the essence of Mongolian music whilst creating a form of music that is new. AnDa Union combine different traditions and styles of music from all over Inner and Outer Mongolia, developing an innovation previously unheard of. The very existence of a music group like AnDa Union is new to Inner Mongolia. Winners of the prestigious Eco-Youth Prize awarded by China Central Television (CCTV) and featured at the Kennedy Center Festival in China, AnDa Union has toured France, Spain, Finland, Sweden, Korea. Japan, Russia and the US. AnDa Union

Artist Website: AnDa Union

The Magnificent Mazowsze

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Mazowsze's 2014 tour of France is organized by our friends at FGL Productions in Paris.  www.fglmusic.com

"There is nothing greater than Mazowsze!" – New York Times

After the very successful fall 2010 tour of the East and Midwest, the world-renowned MAZOWSZE returns to the West coast of North America for the first time in 15 years, once again coordinated with major Public Television showings of the PBS special about MAZOWSZE: “The Music and Dance of Poland”. THE MAGNIFICENT MAZOWSZE is a thrilling display of dazzling movement, vibrant color and stunning beauty. The incomparable Mazowsze performance troupe whirls, leaps, stamps and glides in a glorious outpouring of sound and motion, rhythm and music that celebrates the cultural legacy of Poland. An ensemble of 90 dancers, musicians and singers are arrayed in a seemingly never-ending series of handmade traditional costumes – more than 1,000 in total, one more dramatic and colorful than the next. Some weigh as much as 30lbs, making their energetic gravity-defying leaps, twirls and lifts even more impressive! The choreography and musical arrangements represent 39 regions of Poland with traditional performance styles. A full 23-member orchestra performs music ranging from Chopin to simple folk melodies beloved by the Poles for centuries. Available for Western touring January, 2012

Artist Website: MAZOWSZE

Promo Video

Make a Gift

Join us in bringing

MAZOWSZE to America!

Philadelphia PA; Utica, NY; Amherst, MA; Schenectady, NY; Buffalo, NY; Toronto, ON; Hamilton, ON; No. Bethesda, MD; Pittsburgh, PA; Chicago, IL; St. Paul, MN; Milwaukee, WI; Detroit, MI; Youngstown, OH; Cleveland, OH; Worcester, MA; Baltimore, MD; Waterbury, CT; Bronx, NY; New Brunswick, NJ

Transportation and housing for nearly 100 people from Poland touring around the United States for 5 weeks is very expensive!

The money we earn from each performance comes up short of the overall expenses. We are seeking gifts - large and small – to offset our loss. No amount is too small.

Each and every gift guarantees that you - the generous person or organization – will be credited in every program book in every city as the very special friends of Mazowsze who made this North American tour possible.

Every gift of at least $50 is recognized with a specially designed, commemorative T-Shirt. Larger gifts (in excess of $100) accumulate additional benefits, depending on the size of the gift.  This ranges from a personally autographed photo of the MAZOWSZE company, to surprise gifts, to a free ticket in the tour city of your choice, all the way up to joining the company backstage for a private reception with the dancers, singers and musicians of MAZOWSZE and more!

If you are contemplating a large gift, please contact us through this website. We are very receptive to customizing benefits appropriate to the gift received. Just click “Contact” above.

See how you can help bring MAZOWSZE to America!

$1-$99 Friend (above $50 and you will receive the official “I brought MAZOWSZE to America” T-Shirt) $100-$249 Contributor (T-Shirt plus personally autographed photo of the MAZOWSZE company) $250-$499 Supporter (Gifts as above plus one preferred ticket in the tour city of your choice plus a special surprise gift) $500-$999 Patron (Twice the gifts of a Supporter, plus a backstage meeting with the MAZOWSZE company plus you and your guest join the company in your personally autographed photo) $1,000-$4,999 Benefactor (Gifts as above plus champagne reception with the MAZOWSZE company) $5,000 up Sponsor (Please contact us for details and a custom- designed benefit package)

Please send your tax-deductible gift to AK Foundation for Dance, PO Box 70, New Baltimore, NY 12124. The amount of your gift will determine the tax deductibility. Be sure to include your name, address, email address and daytime telephone number so we can be in touch with you and send your gifts.

Or make your gift with a major credit card via PayPal:

Your gift makes the MAZOWSZE 2010 NORTH AMERICAN TOUR an event to remember!

Tour Dates

14-Nov Philadelphia, PA Kimmel Center 215-893-1999 www.kimmelcenter.org 16-Nov Utica, NY Munson Williams Proctor Arts Institute (315) 797-0055, (800) 754-0797 http://www.mwpai.org/performing-arts// 17-Nov Amherst, MA Fine Arts Center 545-2511 or 1- 800-999-UMAS http://www.umass.edu/fac/index.html 18-Nov  Schenectady, NY Proctor's Theater (518) 346-6204 www.proctors.org 19-Nov Buffalo Shea's Performing Arts Center 1-800-745-3000 www.sheas.org 20-Nov Toronto, ON Sony Centre 416.393.SHOW www.sonycentre.ca 21-Nov Hamilton, ON Hamilton Place 905-546-4040 http://www.hecfi.ca/hecfiEntertainment/index.php 23-Nov North Bethesda, MD The Music Centre at Strathmore (301) 581-5100 www.strathmore.org 26-Nov Pittsburgh, PA Soldiers and Sailors Memorial Hall 4141 5th Avenue Pro-Arts Tickets (412) 394-3353 www.proartstickets.org www.soldiersandsailors.org 27 & 28-Nov Chicago, IL Symphony Center (312) 294-3000 www.cso.org 29-Nov St Paul, MN The O’Shaughnessy at St Catherine University 2004 Randolph Avenue http://oshaughnessy.stkate.edu Twin Cities Polish Festival 1-Dec Milwaukee, WI Marcus Center - Uihlein Hall (414) 273-7206 www.marcuscenter.org 4-Dec Detroit, MI Music Hall Center for the Performing Arts (313) 887-8501 www.musichall.org 5-Dec, Youngstown, OH Workshops and special holiday performance Overture Restaurant Polish Youngstown (330) 646-4082 www.polishyoungstown.com 6-Dec Cleveland, OH Palace Theatre Playhouse Square Center www.playhousesquare.org 8-Dec Worcester, MA The Hanover Theatre 2 Southbridge Street 508-831-0800 or 1-877-571-SHOW (7469) boxoffice@thehanovertheatre.org 9-Dec Baltimore, MD Hippodrome 410-837-7400 or 1-800-551-SEAT www.france-merrickpac.com/home.html 10-Dec Waterbury, CT Palace Theatre 203.346.2000 www.palacetheaterct.org 11-Dec Bronx, NY Lehman Center for the Performing Arts Inc 718 960 8833 www.lehmancenter.org 12-Dec New Brunswick, NJ State Theatre 732 246 7469 www.statetheatrenj.org

Technical Requirements

POLISH STATE FOLK SONG AND DANCE ENSEMBLE

TECHNICAL REQUIREMENTS

As of July 2007

For updated information, contact 2LUCK CONCEPTS – info@2luck.com or 518.756.1852 THIS IS NOT A YELLOW CARD ATTRACTION The following Technical Requirements for MAZOWSZE, hereafter referred to as "Company," are an integral part of the contract and as such should be read carefully, signed and returned with the 2LUCK CONCEPTS Contract in order to have a fully executed agreement.  No item may be waived or changed, nor any additions or deletions made without the express written consent of 2LUCK CONCEPTS. LOCAL PRESENTER AGREES TO FURNISH AT OWN EXPENSE THE FOLLOWING: STAGE REQUIREMENTS: 1.              Ideal performance area is forty-six (46) feet wide and forty (40) feet deep from front curtain to backcloth with additional twelve (12) feet of wing space on each side with three (3) feet of space between backcloth and back wall free of all obstructions for fast cross-overs.  (Minimum performance area is thirty-two (32) feet wide by thirty (30) feet deep). 2.              IT IS MANDATORY THERE BE A LADDER OR LIFT ON STAGE WHEN COMPANY ARRIVES AT THEATER. LADDER OR LIFT MUST BE THIRTY (30) FEET HIGH IN ORDER TO REACH ALL STAGE LIGHTS FOR PLACING OF GELS AND FOCUSING. 3.              Stage floor must be of wood, preferable sprung to meet requirements defined by American Guild of Musical Artists.  Under no circumstances will company dance on concrete flooring or on a wood floor laid directly over concrete.  Surface must be smooth and even, without shellac, wax, or polish.  In advance of company's arrival at theater, stage floor must be thoroughly washed with plain hot water without soap.  All holes must be stopped up.  Nails, splinters, etc. must be removed.  Most dances are performed in soft, leather boots and floor must not be slippery. 4.         Air temperature of stage area may not be less than 70 degrees Fahrenheit or more than 90 degrees Fahrenheit.  Union regulations of dancers prohibit performances when air temperature is in variance with these limits. 5.         Company travels with one full truckload of costumes, props, and equipment. Stage pipes, stage floor and loading area MUST BE FREE AND TOTALLY CLEAR OF ANY HOUSE EQUIPMENT except for black legs, borders and lighting (as indicated in company's light plot) in order to receive company's own equipment with most efficient use of time and manpower. 6.         Presenter shall guarantee security of company's equipment in theater at all   time from load-in until take-out. DRAPERY: 1.         PRESENTER shall provide: --front theater curtain (desired and recommended but not necessary); --four (4) sets of black legs and borders which should be flat, and smooth     without fullness or pleating; --white or light-blue cyclorama or sky cloth; --full stage black rear curtain hung in front of cyclorama PIANO REQUIREMENT: 1.         No piano needed.  If there is a piano onstage, it should be removed prior to load-in. SCENERY: 1.              Company employs several small pieces of set decoration, such as compositions made of artificial flowers to be hung in front of the cyc or back curtain (weight approx. 60lbs) and four minor flower compositions (weight approx. 25lbs each) to be hung on the side wings. 2.              Optional but desired: A white screen (ideally 33 feet by 33 feet) plus multimedia projector and PC with PowerPoint. LIGHTING: 1.         Company makes no unreasonable demands with regard to lighting, but wishes PRESENTER to bear in mind most effective presentation depends on adequate theatrical-dance lighting. A great deal of light (predominately white light) is required – approximately 1.5-2KW per 1 square meter of stage. See attached light plot for reference.  Final light plot will be forwarded at least six weeks before actual performance date. Note:  Minimum power requirement for company is 400 amps, three-phase. 2.         PRESENTER must supply full stage lighting including front-of-house lighting (overhead spots and borders, torms, cyc lighting, specials and backlighting:  all board controlled and colored) according to company's light plot.  Every effort should be made to hang plot with house equipment prior to arrival of company  stage manager at theater who will then be able to concentrate on focusing and last-minute lighting details. 3.         Two (2) "Super Trouper" or "Trouper" follow spots are required.  "Touperettes" are usually inadequate with other stage lighting. Please be certain that all equipment is in working order prior to arrival of the Company so time is not lost in preparing for the performance. SOUND REQUIREMENTS: 1.         AMPLIFICATION EQUIPMENT must be agreed with the Company, however it must be not lower than 2 x 6 KW. The system should be prepared prior to the arrival of the Company’s technical staff and so configured that the sound coverage is adequate everywhere in the room including the place where the orchestra is to be situated (so that the acoustic coupling of the microphones with the systems could be reduced as much as possible). The system should be free from noises and hums, the loudspeakers should not be situated directly on the stage and the fluctuations of the voltage powering the stage should not exceed 5%. a.         The sound control board that is preferred during the production is YAMAHA M7CL-48 and the PRESENTER should provide such a sound panel; it is possible to exchange the equipment for other brands, subject to a prior agreement with the Company. b.         The Orchestra uses microphones for each instrument individually, that is why it is necessary to prepare at least two 16-channel multicores, one for the string section and the other for the wind instrument section and the drums.  The length of these multicores should make it possible to place them near the orchestra. c.          Another (third) 16-channel multicore should be placed near the stage, which would make it possible to connect microphones of the stage where the Ensemble dances and sings. Of course a sufficient number of cables to connect the microphones is needed. d. The Ensemble also needs three audio monitors. Two of them must be located on the right and on the left side of the stage, about six (6) feet high and must be placed at the mid depth of the stage. The third monitor is located backstage in the place specified by the Company and is used for hearing through purposes by the chorus that sings in an “off stage” mode. The monitor line should be equipped with a 31-band graphic equalizer. These lines must be managed from the main console in the case when a YAMAHA M7CL-48 console is used; in other cases this should be agreed with the Company. 2.         MICROPHONES: a.     The in-put list and the types of microphones used by the Company are given below and may be changed subject to prior agreement with the Company.
Input Instrument / input signal Microphone Notice
1 Violin Audiotechnica ATM35
2 Violin ATM35 with preamp
3 Violin ATM35 with preamp
4 Violin ATM35 with preamp
5 Violin ATM35 with preamp
6 Violin ATM35 with preamp
7 Violin ATM35 with preamp
8 Violin ATM35 with preamp
9 Viola ATM35 with preamp
10 Viola ATM35 with preamp
11 Cello ATM35 with preamp
12 Cello ATM35 with preamp
13 Double-Bass ATM35 with preamp
14 Flute AudiotechnicaAT892CW with preamp
15 Oboe ATM35 with preamp
16 Clarinet ATM 35 with preamp
17 Clarinet ATM 35 with preamp
18 Trombone ATM 35 with preamp
19 Horn ATM 35 with preamp
20 Trumpet ATM 35 with preamp
21 Trumpet ATM 35 with preamp
22 Cymbale ATM 35 with preamp
23 Bass Drum AKG D112 /ATM 25
24 Oh Drum Audiotechnica AT 4041 Mic stand
25 Timpani Audiotechnica AE3000 Mic stand
26
27
28
29 Choir L Neumann KM 184 Mic stand
30 Choir R Neumann KM 184
31 Stage ambient  L Audiotechnica AT 8315B Shot gun / mic stand
32 Stage ambient  R Audiotechnica AT 8315B Shot gun / mic stand
33 Front mic L AE 3000 Mic stand
34 Front mic C AE 3000 Mic stand
35 Front mic R AE 3000 Mic stand
36 Floor mic L Crown PCC 160
37 Floor mic LC Crown PCC 160
38 Floor mic C Crown PCC 160
39 Floor mic CR Crown PCC 160
40 Floor mic  R Crown PCC 160
41 Wireless Violin ATM35
42 Wireless Violin ATM35
43 Wireles D-Bass ATM35
44 Wireless Clarinet ATM35
45 Wireless Cymbale ATM35
46
47 Wireless Hand mic Shure SM58 Audiotechnica AE500 Mic stand
48 Wireless Hand mic -„- Mic stand
ST1 MD/CD
3.         An intercom headset system with eight (8) headsets in good working order for communication between company stage manager (preferably stage right), light board operator(s), sound engineer (backstage), house sound operator, and follow spots (2).  Headsets or cue light system is needed for Fly Personnel. STAGE HAND REQUIREMENTS: 1.         PRESENTER is responsible for providing at its own expense all stagehands (and loaders for load-in and take-out) as required by local union regulations.  Where no union rules are in effect, PRESENTER must arrange for and pay requisite number of non-union stagehands and loaders as necessary. FOR LOAD-IN, SET-UP, and LOAD-OUT: 2-loaders (or according to local union rules) 5-carpenters (may be reduced) 5-electricians 1-props 1-sound engineer 4-wardrobe personnel (on first day of performance only) PRESENTER agrees to provide and pay for all Running Crew (including two (2) follow spot operators).  In theaters where union regulations are in effect, minimum requirements will prevail, and Company technical director will forward actual breakdown of Running Crew requirements to all theaters at least six weeks prior to performance date. 2.         Company travels with the following technical personnel: 1- technical director (plus 1 US technical director) 1-electrician 1-sound technician 4-dressers 2-drivers/assistants 3.     Load in and set-up: approximately 4-6 hours prior to arrival of performers, who arrive approximately 2.5 hours before the start of the performance. 4.     Company rehearsal lasts approximately 1.5 hours.  It usually takes place in ordinary light, however, the stage must be quite bright and illumination of the orchestra pit is necessary. 5.     LOCAL SOUND TECHNICIAN AND ELECTRICIAN SHALL BE PRESENT DURING THE REHEARSAL AND THE PERFORMANCE. 6.     Duration of performance: approximately 2 hours, including a 20 minute intermission. 7.     Load out approximately 2.5 hours. ORCHESTRA PIT: 1.         Company performs with a small orchestra.  An orchestra pit for 23 musicians is required.  If theater is not equipped with pit, a space measuring twelve (12) feet by twenty seven (27) feet must be constructed on floor of theater in front of first set of seats, separated from public by a rail placed at height of three (3) feet.  SPACE MUST BE PLACED WITH EXCELLENT SIGHT-LINES TO STAGE AS CONDUCTOR CUES ENTIRE SHOW FROM PODIUM.  Alternately, if the stage is large enough, Company may decide to place the orchestra on stage. Any PRESENTER whose theater is without normal orchestra pit must obtain written approval from 2LUCK of any plan to accommodate orchestra's musicians, before contract is signed. 2.         PRESENTER shall provide 17 music stands, 23 straight-backed chairs in orchestra pit or playing space.  One conductor's podium and separate music stand are also required. DRESSING ROOMS: 1.         All dressing rooms shall be situated close to the stage and must have chairs, make-up tables, mirrors with mirror lights, clothes racks with hangers.  All dressing rooms must be clean with access to adequate rest room facilities; hot and cold running showers are required. 2.              Following is a breakdown of dressing rooms: --one large room (or properly adapted large space) for 40 male dancers and singers (or several smaller rooms, if necessary); --one large room (or properly adapted large space) for 40 female dancers and singers (or several smaller rooms, if necessary); --one room for artistic director near the stage, if possible; --one room for orchestra members and conductor, near orchestra pit, if possible; --one room for administrative staff, if available; --one room for doctor and masseur, if available Note:  An area is needed for pressing costumes.  Three irons and ironing boards must be available with electrical outlets nearby. PRESENTER must provide three (3) people to help iron costumes. STANDBY MUSICIANS 1.         Company has no requirement for local musicians, but if any local union regulations require standby musicians be employed, this expense shall be sole                                   responsibility of PRESENTER. AUDITORIUM AVAILABILITY 1.         Company requires use of theater for load-in no later than 8:00am on performance day. 2.              Company is to be sole occupant of theater from beginning of load-in until end of take-out unless written agreement is obtained from Company permitting use of theater by other groups or individuals. PROPERTY OF COMPANY/PARKING SPACE AND PERMITS 1.              Costumes, props, musical instruments, as well as a small reserve of curtains and scenery are packed in approximately 100 aluminium boxes and sacks. The weight of the complete Company property is 4.5 tons. 2.         Parking at loading dock for Company's tractor-trailer (approx 60 feet long) available not less than 30 minutes before pre-arranged load-in time and 30 minutes before end of performance. 3.         At back stage entrance for Company's staff car and Company's two 45’ buses before, during and after performance and rehearsal, if any.  These vehicles will arrive 3 hours prior to performance and remain until 1 hour after load-out. COMPANY SEATS 1.         Eight (8) pairs of complimentary seats in center of orchestra section of theater are to be held for exclusive use of Company for each performance.  Company can be asked to release un-used tickets two hours before curtain time. MEDICAL ATTENTION 1.         PRESENTER agrees to furnish Company names of a General Practitioner,                                              Orthopedic Specialist, and local emergency hospital facility. 2.         This information should be returned at same time as stage information, so it may be included in tour itinerary.  These services should be notified of the possibility of use by Company and should be as convenient to theater and hotels as possible. HOSPITALITY 1.         As the Company will be spending a large portion of the day at the theater, PRESENTER must provide coffee, tea, soft drinks, juices, bottled water, and light refreshments such as deli platters, fruit, yogurt, etc. These amenities should be provided in ample quantities to serve 80 people. 2.         If the Company is obligated to two performances in one day, PRESENTER must provide a hot meal between the performances for the Company and its staff.  Details TBD. 3.         Bottled water should be replenished 1/2 hour before the performance. IF ANY OF THE SERVICES AND/OR FACILITIES INDICATED IN THIS AGREEMENT ARE NOT PROVIDED BY PRESENTER AND COSTS MUST THEREFORE BE INCURRED BY COMPANY, PRESENTER WILL REIMBURSE COMPANY FOR THESE COSTS, NOT LATER THAN DAY OF PERFORMANCE. ACCEPTED AND AGREED: ________________________________________ Signature                                               Date ________________________________________ Title / Organization Please fill out the following questionnaire 1)     City_____________________________________________________________________ 2)     Dates(s) and time(s) of Concert(s)__________________________________________________________ 3)     Presenter_____________________________________________________________________ Address_______________________________________ Zip_____________________________________ Theater Name, Address, Zip_______________________________________________________________ Capacity _____________________________________________________________________ 4)     Name of Stage Manager__________________________ Telephone_______________________________ Backstage Address______________________________ Telephone_______________________________ Home Address__________________________________ Telephone_______________________________ Email Address__________________________________ Cell Phone_______________________________ 5)     Name of Presenter representative responsible for Contract and arrangements _____________________________________________________________________ Business Address_______________________________ Telephone_______________________________ Home Address__________________________________ Telephone_______________________________ Email Address__________________________________ Cell Phone_______________________________ 6)     Presenter’s representative to be notified upon arrival (if different from #5) _____________________________________________________________________ Business Address_______________________________ Telephone_______________________________ Home Address__________________________________ Telephone_______________________________ Email Address__________________________________ Cell Phone_______________________________ 7)     Names, locations, and telephone numbers of recommended hotels: _____________________________________________________________________ _____________________________________________________________________ 8)     Names, locations and telephone numbers of recommended restaurants open after the concert: _____________________________________________________________________ 9)     Names, locations, and telephone numbers of grocery stores or markets open after the concert : _____________________________________________________________________ 10)   Names, locations and telephone numbers of recommended physicians:____________________________ _____________________________________________________________________ 11)   Names, locations and telephone numbers of recommended dentists:______________________________ _____________________________________________________________________ 12)   Names, locations and telephone numbers of nearest hospitals:__________________________________ _____________________________________________________________________ 13)__ Names, locations and telephone numbers of local companies with touring coaches (MC 9s, Eagles, or Prevosts): _____________________________________________________________________

Mnozil Brass

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MNOZIL BRASS

Not many brass ensembles can claim the Canadian Brass as rabid fans, but Mnozil can.  Not many brass ensembles can claim to have performed on the soundtrack of the latest "Sherlock Holmes" film, but Mnozil can. And not many brass ensembles can claim to have a YouTube search produce more than 1,800 results, with the first four videos culminating in more than 5 million hits...But Mnozil can. These seven musicians from Austria have the exacting talent and exciting repertoire that makes brass music as accessible and entertaining as it is. Known and admired since 1992 by professional and student brass musicians around the world, as well as countless audience members and critics from Moscow to Tokyo and New York to Lawrence, KS.  The secret weapon that endears everyone to Mnozil Brass is their intelligent humor and impeccable timing that is the hallmark of every performance. A Mnozil Brass performance can be a journey that you wish would never end. It can range from a haunting arrangement of the theme from "Psycho", to a stirring "William Tell Overture", to a sweet rendition (including a capella) of Queen's "Bohemian Rhapsody".  Or how about Glenn Miller's "Moonlight Serenade"? Or by special request in a concert last season, the KU Fight Song when their team was in the Final Four. Using only music and non-verbal physical comedy to create the evening, comparisons of their humor and stage presence have been flatteringly made to the great silent comedians like Buster Keaton and Laurel and Hardy. More contemporary references have included Monty Python and Jonathan Winters. Mnozil Brass counts thousands of fans in the United States, and those who have presented them have become boosters of the group. Tech?  They are a dream.  The ideal stage size for a typical show is 25'x13'. Normally, general/concert lighting is all that is necessary. Depending on the size and acoustic quality of the house, they rarely use any sound amplification (and if it is necessary, it is only a few stand mics across the front of the stage). They like to get on stage for a few minutes about an hour before the doors open.  And that's it.  Oh, and they like to be fed... Better than any more words, following are a few video links that give a better idea of who and what Mnozil Brass is and why they attract the attention that they do. (And be sure to read the comments after each video!!) Bohemian Rhapsody -1,757,017 hits:  http://www.youtube.com/watch?v=hBLm747tyn0 William Tell Overture - 1,104,628 hits: http://www.youtube.com/watch?v=5_srdB2JGBI Lonely Boy - 1,259,874 hits: http://www.youtube.com/watch?v=eYRMbj6U2Ww Green Hornet (Kill Bill) - 968,861 hits: http://www.youtube.com/watch?v=xhjO_H004v8 Finally, their website: http://www.mnozilbrass.at/en/   Mnozil Brass fullAn ensemble with a difference! This ensemble entertains audiences with a superb blend of virtuoso musicianship, unusual concert items and off-beat humour. If you want to know what to expect, expect the unexpected.”   British Bandsman "These musicians are absolutely brilliant on their instruments which you almost don’t realize because you’re laughing so hard.  This is supreme and high-quality entertainment.” Niederösterreichische Nachrichten October 12-November 3, 2013 (East/South) February 27-March 9, 2014 (West/Midwest)

Sacred Monsters

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SYLVIE GUILLEM & AKRAM KHAN in SACRED MONSTERS

"Sacred Monsters" is a public dialogue in speech and motion between two artists supremely skilled in different forms of classical dance — artists who share as well a long commitment to contemporary expression. It brings together dancer-choreographer Akram Khan, a master of kathak, one of India's more brilliant classical idioms, and Sylvie Guillem, a ballet star famed for her technique and daring. Their 70-minute performance Wednesday in the UCLA Live series in Royce Hall represented not only a starry novelty act but also an affirmation — exactly when we needed it — that cultural isolation can be shattered, that East and West can happily coexist and grow productively from person-to-person exchange Lewis Segal, LA Times Khan and Guillem linked hands and let ripples shake their bodies. It was part dance, part struggle. At one point, Khan refused to take his partner's hand and instead bowed his head like a bull. Without touching her, he "pushed" her away. Later they launched into a dance-fight, a robotic, hip-hop-like duet. The disjointed effect was like a strobe light without the strobe. It was all done through exquisite control of their exquisite bodies. Later, they became a single, multiarmed undulating figure as Guillem wrapped her legs around Khan. In the past, it was the statuesque Guillem who grabbed, demanded even, our attention. Not on this night. Khan, the short "bald Krishna," was more than a match for Guillem. He wowed us at the end with an intimate argument with himself – "Is this right?" and "Is this wrong?" – as he repeatedly tried standing up on the tops of his feet. Ouch. Laura Bleiberg, Orange County Register The dance event, at Royce Hall, was an exhilarating exploration of the boundaries and synergy between two classical dance forms, kathak from the Mughal courts and Western ballet. "Sacred Monsters" showcased ballet and kathak disciplines separately and in combination, translating pure dance, lyrical gymnastic movement, spectacular control of bodies, consummate in the self realization of two distinct art forms blending seamlessly. India Post.com SACRED MONSTERS brings together Sylvie Guillem and Akram Khan in an exciting exploration of the boundaries between two great classical dance forms, kathak and ballet, with additional choreography by Lin Hwai-min, Artistic Director of Cloud Gate Dance Theatre, Taiwan and kathak guru Guari Sharma Tripath, as well as live music specially created for them by Philip Sheppard. Akram Khan, speaking about this project, said: “I have spent my life studying and performing kathak. It is the source of my creative process. Working with Sylvie Guillem is an exciting new challenge, giving me the opportunity to explore another classical dance language with one of its greatest exponents, and as a result, creating a situation that will unearth the things that are most often lost between the classical and modern world.” Choreographer/ Dancer - Akram Khan Dancer - Sylvie Guillem Additional Choreography - Lin Hwai Min (Sylvie Guillem’s solo) Additional Choreography - Guari Sharma Tripath (Akram Khan’s solo) Composer/Cello – Philip Sheppard Percussion – Coordt Linke Violin ­ Alies Sluiter Male Vocal – Faheem Mazhar Female vocal – Juliette Van Peteghem Lighting Designer - Mikki Kunttu Set Designer – Shizuka Hariu Costume Designer– Kei Ito Sound Engineer – Manu Corazzini Choreographic Assistant – Nikoleta Rafaelisova Dramaturge – Guy Cools Producer – Farooq Chaudhry Co-Producers Les Nuits de Fourviere, Lyon Grand Theatre de la Ville, Luxembourg Sadlers Wells, London Missno Limited Suported by Arts Council, England Bell Cohen Charitable Trust The Quercus Trust Structure Full length work approx 75mins that has three distinct components. A solo by Sylvie, a classical kathak solo by Akram and duet by Akram and Sylvie. There will be live music in an environment that will recreate the informality and spontaneity of an Indian Classical kathak performance. “Sacred Monsters. Monstres Sacres. The term was used for the first time in France in the 19th century as a nickname for the big stars of the theatre, such as Sarah Bernhardt. It marks the birth of contemporary stardom in which the icons of the arts and sports world are given divine status by their audience and the media. Sacred Monsters is first and foremost the meeting and exchange of two such ‘stars’ of the present day dance world: Sylvie Guillem and Akram Khan. But there is also a flip side to stardom. Having to live up to the expectancies of your audience to be perfect, positive, good (at), … There is no more room for failure, imperfection, to express one’s real feelings and emotions. The divine status becomes inhuman, monstrous. The latter being an experience we all share when as children we had to live up to the expectancies of the adults around us: our parents, our teachers, … To some extent all children are ‘sacred monsters’.” Guy Cool - dramaturge “This is a tribute to Sylvie, (based on my impression of her during our brief encounter): a vulnerable child and a warrior who holds her fate in her own palms.” Lin Hwai Min Akram Khan is one of the most gifted choreographers and dancers of his generation. He began dancing at the age of seven, studying under the great Kathak performer Sri Pratap Pawar. He presented solo performances in the 1990s, gradually developing larger scale works, drawing on his experience and training as a kathak dancer and breaking new ground in his collaborations with other artists – first seen in his first full-length work Kaash, a collaboration with Anish Kapoor and Nitin Sawhney. His production Ma was presented at the Edinburgh Festival in 2004. In 2005 he was made an associate artist of Sadler’s Wells and zero degrees, a collaboration with Sidi Larbi Cherkaoui, Antony Gormley and Nitin Sawhney was premiered at Sadler’s Wells in the same year. In 2005 he received an MBE for his services to Dance. Sylvie Guillem is perhaps the world’s most celebrated ballerina. She has worked with many of the great choreographers including Maurice Béjart, William Forsythe, and Mats Ek, as well as being acclaimed for her performances of the major classic works of the ballet repertoire. She was Etoile at the Paris Opera Ballet under the direction of Rudolf Nureyev before joining the Royal Ballet in 1990, where she is now Principal Guest Artist. Throughout her extensive career she has received many awards, including the Nijinsky Prize (2000), the Chevalier de Legion d’Honneur (1994), and an honorary CBE (2003). Philip Sheppard is a virtuoso cellist and a pioneer of the electric cello. He is a professor at The Royal Academy of Music and has composed extensively for film, television and theatre and is a prolific recording artist. Philip has recently composed BBC Television's Easter production The Manchester Passion as well as compositions for Horizon, Simon Schama's History of Britain and Theatre de Complicite's The Elephant Vanishes. He has recently written and recorded with Scott Walker, David Bowie, Damien Hirst, Oasis and Unkle, and appears as improvising soloist on the soundtracks of The Business, The Virgin Queen, Harry Potter: The Goblet of Fire and Hotel Rwanda.
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