Rosas Danst Rosas

Anne Teresa De Keersmaeker
1983 (Film 1997)
Complete the ‘Rosas Danst Rosas’ work
sheets as we work through the power
Choreographer – Anne Teresa De Keersmaeker
(Belgian choreographer)
Director (of the film) - Thierry De Mey
Company – Rosas
Date of first performance – Premiere 6th May 1983.
Filmed in 1997
Dance styles – Pedestrian, minimalist, gestural,
abstract, mechanical, grounded. Concerned with
relationships whilst maintaining dancer-dancer
Choreographic style – Highlights single parts of the
body, drawing attention to small human gestures.
Movements are patterned and structured to create
rhythms and perfect unison is achieved
Themes – Human behaviour and rage.
Starting point – The human vs. The abstract: Every
day expression: Flirtation, longing, frustration.
Music/dance relationship
Structure – 8 sections.
Dancers – 4 dancers (Stage version)
18 (Filmed version)
Accompaniment – Thierry De Mey and Peter Vermeersch.
Electronic, percussive, minimalist music together with the
natural sounds of the dancers in action.
Costume – Rosas: Drab everyday grey skirts and tops/
black leggings, socks and shoes. Loose fitting and
functional. They appear institutional.
Lighting – Remon Fromont: natural light through the
Set – Anne Teresa De Keersmaeker. The dance takes place
in the corridors and rooms of a large, austere, empty school
in Belgium. Windows, doors and walls frame the action.
Props – An assortment of wooden chairs are used for one
Staging – Site Specific- An old school building.
 Section
1 – Moving In
 Section 2 - Floor
 Section 3 - Chairs
 Section 4 - Building
 Section 5 – Glass Interiors
 Section 6 - The Lying Down
 Section 7 – Inner Court
 Section 8 - Coda
*the three specific sections we will be looking at are
highlighted in blue!
TIP: try to use these words when you analyse ASDR and choreographic devices in the 3 different sections.
This section is all about exploring the floor using contrasting
dynamics with an emphasis on suspension, fall & release.
Key actions used are roll, push up on the elbows, arch,
fall, always using the breath as a way into and out of the
At first, the actions appear repetitive, with the same movements
repeated over and over again, but this is not the case.
Focus carefully on the use of the arms and you will see that tiny
details change all the time.
Fragmentation (taking pieces or ‘fragments’ of movement and
putting them together in a different order) is used to great effect
towards the end of the section.
 Rosas
Danst Rosas - Floor
Watch the
clip of
Section 2
the analysis
 In
your own words, analyse the ASDR
content of the floor section.
 How
does it help to convey the dance
 Use
your mind map to help you and
include the movement styles.
The action content can be divided into 4 main motifs and
these are fragmented and re-ordered throughout this 8
minute section, using a large amount of
accumulation and relationships which together create a
complex structure.
The 4 motifs are introduced first before building in
complexity and intensity.
Motif A: Cross legs. Hand to hair, bring down side of head,
over ear, to neck. Pull top off shoulder, pause, replace, pause,
look over R shoulder. ‘Knowing’ nod with slight smile. Face
Motif B: Uncross legs. Throw arms across body to L, L arm
holds top of chair, R arm to L hip. Suspend, fall forwards arms
folded across stomach, head falls last. Rebound to upright, L
arm crosses under R, R arm on knee.
Motif C: Hands behind head, elbows raised to
sides. R hand to breast, flop forwards, punch R
arm down. Rebound. Backs of hands pass under
chin one after other, drop forwards, replace.
Arch, hand to chin & head turn to R, drop palm in
lap. Upright, R hand over head.
Motif D: Twist/lunge to L throwing arms and
clasping hands in front. Throw clasped hands
across body to R, simultaneous drop forwards.
Upright, arch, hands between thighs.
 Find
a space and in pairs, mark through
one of the chair section motifs.
 Now
include the appropriate dynamics
 Share
with the other pair
 Rosas
Danst Rosas – Chairs
Watch the
clip of
Section 3 and
complete the
This section follows seamlessly from ‘Building’ as a
continuation .
It is primarily focused on relationships, making good
use of fragmentation which creates a canon effect as
well as unison, counterpoint and grouping different
sets of dancers together.
The result is a section where dancers move in and
out of these relationships fluidly and it can be hard to
spot where the change has happened.
The movement often matches the accents and
dynamics of the music.
 Rosas
Danst Rosas – Glass interiors
Watch the
clip of
Section 5
 Beyonce
– Countdown
 Compare
Beyonce’s use of the action
content with the original Rosas Danst
Rosas version
 What
does Beyonce’s version do for the
theme and ideas of the original?
 Discuss
positive and negative effects.

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