In Accords, Thomas Hauert continues his research on body and movement, focusing more specifically on the relationship between dance and music. Dance and music are parts of a classic combination, perhaps even the very first one. Anyone watching Accords might think that they are seeing a choreography written to music, because ZOO’s dancers attempt to come as close as possible to the precision found therein. Yet the process of creating movement turns out to be radically different here. It involves a “democratic” process, based on individual freedom and permanent attention being paid to others: a process aimed at obtaining a choreographic complexity beyond that of a written piece. Thomas Hauert chooses to rely on the intuitive intelligence of the body and the group.
*Music*: Vicente Amigo, El Mandaito (Bulerias) ; Roland Moser, Kabinett mit Vierteltönen: Noch ein perpetuum mobile ; Knut Nystedt, Immortal Bach ; Sergej Rachmaninov, Prelude Op. 23, No. 10 in G Flat & Piano Sonata No. 2 in B Flat Minor ; Maurice Ravel, La Valse ; Jean C. Roché, Dawn Chorus At Bialowieja Forest, Concert de crapauds & Concerts de la nuit: Concerts des loups en forêt canadienne ; Erik Satie, Première Gymnopédie ; Dick Van Der Harst, Drama & De Breton ; Stefan Wolpe, Marsch