Press Reviews       FORUM ATELIER WILLIAM FORSYTHE Press Reviews of the Forum Atelier on June 1, 2005     back    “I always wanted for the dancers to be their own instrument,” says William Forsythe. Now the choreography is the musical score and the choreographer who controls the performance live is the conductor. And the dancers are not only the instrumentalists but the composers as well. And the audience? It has to redirect and reevaluate its perceptions. (…) (…) Forsythe recently came to a studio discussion at the Forum Neues Musiktheater (FNM) of the Staatsoper Stuttgart because Andreas Breitscheid, the composer and director of this “laboratory,” and his team are developing the technology that will emancipate Forsythe’s dancers from the music of others. The FNM may be pursuing its research in the remote Römerkastell in Cannstatt, but it has long since become an international address. Schwäbisches Tagblatt “Music is impalpable, and dance interpretations of it have always been inadequate; the choreography is always wrong,” says William Forsythe, who clearly no longer has an enthusiasm for the dictates of music. (…) Now the choreograph, who founded the private ensemble The Forsythe Company when the Frankfurt Ballet closed this year, has moved into a new dimension—in collaboration with the Forum Neues Musiktheater of the Staatsoper Stuttgart. (…) “It is exactly what I have been looking for,’ says Forsythe, who is visibly fascinated by the possibilities of M.-P.-Tools from Stuttgart. ‘It opened up a new perspective for us: we are totally free,’ says the choreography, completely relaxed. (…) Now he defines for himself such parameters as the sound world and the time structure (…). Stuttgarter Nachrichten After more than twenty years Stuttgart is playing a role again in William Forsythe’s life, having begun his career here in 1973. (…) For Three Atmospheric Studies, the first piece of his new Forsythe Company, the avant-garde choreographer is employing in Frankfurt computer software developed by Breitscheid and Manuel Poletti. It is exactly “what I had been praying for,” raves Forsythe, who wants to employ the Voice Treatment even more in the future. The dancer Ander Zabala demonstrates how it works. (…) “It opened up a new perspective for us (…). What we do is ours. The choreography is the score; the dancer is at once composer and instrument.” Cannstatter Zeitung In a studio evening at the Forum Neues Musiktheater, William Forsythe demonstrated the interaction of dance and a technology for sound production and manipulation that was developed especially for the choreographer and his work by the experimental studio of the Staatsoper Stuttgart, and, as he puts it, has “opened up a new perspective.” (…) Forsythe, who is world-famous for his revolutionary extension of the vocabulary of classical ballet, is also a tireless experimenter and brilliant explorer in the use of music, the exploration of space, and indeed fundamentally in the form of theater. In two one-hour performance, with the support of Andreas Breitscheid, the artistic director of the Forum Neues Musiktheater, the dancer Ander Zabala, and two sound designers, Forsythe has permitted a small but nonetheless extremely impressive look into his creative laboratory. William Forsythe said that audience members and even critics could scarcely believe on seeing the performance of Three Atmospheric Studies or even recently at the Venice Biennale of Dance, where the company presented the dance installation You Made Me a Monster, that the sound was not a collage of music, alien voices, and electronic accessories. Stuttgarter Zeitung
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