The respiratory techniques of yoga are at the source of Myriam Gourfink’s endeavors. The idea is to seek after the inner urge that leads to movement. Guided by breath, the organization of bases of support is extremely exact, while the consciousness of space is shaky. The dance becomes slow, tedious within continuous time. This knowledge of movement and space makes possible the conception of choreographies without studio rehearsal. Thanks to what it suggests of a dance situation, there is no need to move in order to feel dance: the senses and the intellect reconstitute it.
Similar to musicians, she uses a symbolic writing system to compose the geometrical universe and poetic evolution of dance. Having studied Labanotation with Jacqueline Challet Haas, she undertook a quest, using this system as a point of departure, for the formalizing of her own compositional language. Each choreography encourages the performer to be conscious of his acts and of whatever passes through him. The scores activate his participation : he makes choices, carries out operations, confronts the unexpected within the written text, to which he responds instantly.
For certain projects, the scores include computer programs for the scrambling and real-time re-generation of the pre-written composition : the program runs the score in its entirety and generates millions of possible compositional sequences. The performer, via captor systems, guide the process of modification of the choreographic score, which they read on LCD screens. The computer setup is thus at the core of the space-time relationship. As the piece proceeds, it makes possible the structuring of as yet untried contexts.
A leading figure in choreographic research in France, but also the guest of numerous international festivals (springdance in New York City, the Künsten Arts festival in Brussels, the Festival de la Bâtie in Geneva, the Danças Na Cidade festival in Lisbon etc.), Myriam Gourfink was artist in residence at the IRCAM in 2004-2005 and at the national Fresnoy-studio for contemporary arts in 2005-2006, Myriam Gourfink has been the director of the Center for Choreographic Research and Composition (CRCC) at the Royaumont Foundation since January 2008.
K. T. Toeplitz
Kasper T. Toeplitz is a composer, electric bass player, laptop performer and musician who has developed his work in the no man’s land between “academic” composition (orchestra, ensembles, opera) and electronic “new music” or “noise music”.
Kasper has won several prizes and distinctions: first prize for orchestral composition at the Besançon Festival, first prize at the “Opéra autrement / centre Acanthes” competition, Villa Médicis Hors les Murs (New York), grant Leonardo da Vinci (San Francisco), Villa Kujoyama (Kyoto), DAAD (Berlin), Hors les murs (Poland). He has also received numerous commissions from the French Governement, the radio and from electronic studios such as Ircam, GRM , GMEM, CRFMW, EMS, GRAME..He works with experimental or unclassifiable musicians such as Zbigniew Karkowski, Tetsuo Furudate, Dror Feiler, Art Zoyd, Eliane Radigue, Phill Niblock, Ulrich Krieger, Stevie Wishart, Z’ev, among others.
KTT writes music which is played either by himself, by other soloists or ensembles or creating his own units. For several years he collaborated with contemporary dance artists as a composer and on-stage accompanist.
Some of his long-term groups or projects are LE DEPEUPLEUR (with Zbigniew Karkowski), INERT/E (with Lars Akerlund), KERNEL (a trio of computer players), SLEAZE ART (an orchestra of electric guitars and basses whose current incarnation is a "bass unit"). Has definitively integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, hybridising more traditional instruments, or working on the sheer electronic noise.