ARCHIVE 2009



come, been and gone
Venice - Stockholm - London - Berlin, 25,26 June 2009 - 1,2 Oct. 2009 - 28 Oct. > 7 Nov. 2009 - 4,5 Dec. 2009

25 and 26 June 2009,  8 p.m.
Teatro alle Tese – Venice
Michael Clark Company
come, been and gone
premiered in Venice as Swan Lack - Thank U Ma’am
photo copyright Mick Rock 1972, 2009

Swan Lack
choreographer Michael Clark
composers Bruce Gilbert & Wire
lighting designer Charles Atlas
costumes BodyMap
music: Feeling Called Love (Wire), Do You Me? - I Did (Bruce Gilbert)
dancers Melissa Hetherington, Simon Williams, Kate Coyne, Benjamin Warbis, Clair Thomas, Ellen van Schuylenburch, Oxana Panchenko, Stephen Beagley
 
Thank U Ma'am
choreographer Michael Clark
composers David Bowie, Brian Eno, Iggy Pop
lighting designer Charles Atlas
costumes Stevie Stewart, Michael Clark
music: Mass Production(Iggy Pop/David Bowie), Sense of Doubt (David Bowie),“Heroes” (David Bowie/Brian Eno), After All, Future Legend, Chant of the Ever Circling Skeletal Family, Aladdin Sane, The Jean Genie (David Bowie)
dancers Kate Coyne, Melissa Hetherington, Oxana Panchenko, Clair Thomas, Benjamin Warbis, Simon Williams

other dates:
1, 2 October 2009, Dansens Hus, Stockholm
from 28 October to 7 November 2009, Barbican Theatre, London
4, 5 December 2009, Haus der Berliner Festspiele, Berlin

a commission of barbicanbite09, Dance Umbrella (London), La Biennale di Venezia and Dansens Hus (Stockholm) within the Enparts project – European Network of Performing Arts
with the support of the Culture Programme of the European Union
production Dance Umbrella, barbicanbite09, Michael Clark Company, Edinburgh International Festival, Grand Théâtre de la Ville de Luxembourg, and Maison des Arts de Créteil

Michael Clark and his Company of extremely flexible dancers will present a new creation in Venice for the Biennale, inspired by the living legends of rock –David Bowie, Iggy Pop and Lou Reed– and the Seventies, when the three artists worked closely together and produced some of their masterpieces.
 
The new creation by Michael Clark involves a group of important co-producers, a sign of the widespread interest kindled by the Scottish choreographer and the importance of the production project: the three partners of the ENPARTS project (the European Network of Performing Arts) which the Venice Biennale promotes and participates in, for dance, with the festivals in London and Stockholm –Dance Umbrella and Dansens Hus– are joined by Barbicanbite09, Edinburgh International Festival, Grand Théâtre de la Ville de Luxembourg, Maison des Arts de Créteil, as well as the Michael Clark Company itself.
 
After its world premiere on June 25 and 26 at the Teatro alle Tese in Venice as part of the Dance Biennale, the piece is scheduled in Edinburgh from August 28 to 31 for the Edinburgh International Festival; in Stockholm October 2 and 3 for Dansens Hus; in Paris from October 15 to 17 at the Maison des Arts de Créteil; in London from October 28 to November 7 at the Barbican Theatre, and in Berlin from 4-5 December at the Haus der Berliner Festspiele.
 
“Rock has been vital to me even at a personal level, it has shaped me as an individual as well as an artist”, Michael Clark has said in the past. And perhaps no other exponent of contemporary dance has ever become an icon of youth culture like this choreographer from Aberdeen, who was trained at the school of the Royal Ballet and was a member of the equally prestigious Ballet Rambert, with Maestro Frederick Ashton; at the early age of 22 he founded his own company and achieved a sudden, planet-wide success. Acclaimed as a pop idol, Michael Clark was able to give form to the underground culture of the Eighties, infusing the Dyonisiac energy of rock music into a dance with clear lines and rigorous construction, conquering young audiences as well as the most severe critics. 
There has never been any doubt that Michael Clark, apart from his excesses, is an acknowledged choreographer, and this is testified by his long and esteemed career. Just to mention his most recent works: in 2004 Clark created a solo for Mikhail Barishnikov and in the following three years, a triptych inspired by the music of Igor Stravinsky, hailed by the Guardian as “an extraordinary musical event, but above all a milestone of choreography”.