{"id":254,"date":"2024-01-13T15:37:26","date_gmt":"2024-01-13T14:37:26","guid":{"rendered":"https:\/\/sophimages.be\/en\/?p=254"},"modified":"2025-02-06T16:24:12","modified_gmt":"2025-02-06T15:24:12","slug":"rosas-danst-rosas","status":"publish","type":"post","link":"https:\/\/sophimages.be\/en\/rosas-danst-rosas\/","title":{"rendered":"Rosas danst Rosas"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Synopsis<\/h2>\n\n\n\n<p>Rosas danst Rosas (1983), Anne Teresa De Keersmaeker&#8217;s third choreography was the basis for the Rosas ensemble. It showed for the first time an integration of the emotional-theatrical elements from the repetitive-mathematical structures of Asch and Fase, her other choreographies. Moreover, music and choreography were literally written together during the creative process, which led to a unique concurrence of musical and choreographic energy. Rosas danst Rosas remains in our minds as a performance in which the transparency of the means used was connected to sometimes conflicting feelings such as fear and aggression, vulnerability and harshness, anxiety and alertness.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"ROSAS DANST ROSAS  - excerpt\" src=\"https:\/\/player.vimeo.com\/video\/69971860?dnt=1&amp;app_id=122963\" width=\"500\" height=\"278\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Director<\/h2>\n\n\n\n<p>Thierry De Mey<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">year<\/h2>\n\n\n\n<p>1997<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Fests &#038; Prizes<\/h2>\n\n\n\n<p>Competitions at Montreal intl FF, Budapest intl FF BEST DIRECTION AWARD, Stockholm (<em>Grand Prix International Vid\u00e9o Danse\/Carina Ari<\/em>),&nbsp;Amsterdam (<em>Best direction Award<\/em>), Budapest (<em>Prize for Best Directing<\/em>),&nbsp;Athens (<em>Prize for Best Directing<\/em>), Moscou, Brussels, Z\u00fcrich, Amsterdam FF BEST DIRECTION AWARD at Widescreen\u2026&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Partners &#038; funds<\/h2>\n\n\n\n<p>Fonds Film in Vlaanderen &#8211; Direction de l&#8217;Audiovisuel de la Communaut\u00e9 fran\u00e7aise de Belgique &#8211; Avila &#8211; Rosas &#8211; ZDF\/Arte &#8211; RTBF &#8211; NPS &#8211; Nationale Loterij &#8211; Le Fresnoy<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"768\" data-id=\"256\" src=\"https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-1.jpg\" alt=\"\" class=\"wp-image-256\" srcset=\"https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-1.jpg 960w, https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-1-300x240.jpg 300w, https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-1-768x614.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"853\" height=\"576\" data-id=\"255\" src=\"https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-2.png\" alt=\"\" class=\"wp-image-255\" srcset=\"https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-2.png 853w, https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-2-300x203.png 300w, https:\/\/sophimages.be\/wp-content\/uploads\/2024\/12\/rosas-2-768x519.png 768w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\" \/><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Synopsis Rosas danst Rosas (1983), Anne Teresa De Keersmaeker&#8217;s third choreography was the basis for the Rosas ensemble. It showed for the first time an integration of the emotional-theatrical elements from the repetitive-mathematical structures of Asch and Fase, her other choreographies. Moreover, music and choreography were literally written together during the creative process, which led [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":459,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[12],"class_list":["post-254","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe","tag-dance-de-keersmaecker"],"_links":{"self":[{"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/posts\/254","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/comments?post=254"}],"version-history":[{"count":7,"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/posts\/254\/revisions"}],"predecessor-version":[{"id":608,"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/posts\/254\/revisions\/608"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/media\/459"}],"wp:attachment":[{"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/media?parent=254"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/categories?post=254"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sophimages.be\/en\/wp-json\/wp\/v2\/tags?post=254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}