Jan Martens / GRIP
2021This solo, created and performed by Jan Martens is a danced portrait of the Polish-born Elisabeth Chojnacka (1939–2017), an exceptionally talented and passionate musician who contributed to the revival of harpsichord music in the middle of the twentieth century.
While in 1968 the Paris student revolt challenged old ideals, Elisabeth Chojnacka discovered avant-garde composers such as François-Bernard Mâche and began to play more regularly the few contemporary works for harpsichord, in addition to the classical pieces that were always part of her repertoire. In part thanks to her talent and perseverance, a number of composers (Ligeti, Xenakis, Ferrari, Berio, Halffter, etc.) wrote new work for the harpsichord in the 1970s and 1980s. These were often dedicated to Elisabeth Chojnacka .
ELISABETH GETS HER WAY wants to pay tribute to this exceptional woman. The solo is a danced portrait with a wide-ranging soundtrack, consisting of a selection of the music she recorded in her fifty-year career: from Nyman to Montague via Ligeti, all performed by Elisabeth Chojnacka . The objective is to keep the dance close to the sometimes complex scores. Jan Martens ‘plays’ his body like Elisabeth Chojnacka played the harpsichord. Different styles of movement are brought together, just as she effortlessly wound her way between registers and genres with a few centuries of musical history in her fingers. The dance pieces in the solo are complemented by a documentary layer in which Elisabeth Chojnacka work and life are discussed narratively, among others through interviews with people who were close to her.
Jan Martens set to work earlier with a performance by Elisabeth Chojnacka in any attempt will end in crushed bodies and shattered bones (premiere on February 4, 2021), a work for 17 dancers. The concerto for harpsichord and strings by Polish composer Henryk Gorecki, which she performed with the London Sinfonietta, plays an important role in that production. In 2021 it will be fifty years exactly since Elisabeth Chojnacka released her first album: Clavecin 2000. An ideal moment to pay homage to this remarkable woman with a solo in which she is given the time and space she deserves.
'The energy and concentration are intense, the form of the dance solo also tends towards the monumental. Nowhere does Martens become ironic or apologize for the force, or frenzied power, of the work of Chojnacka and of composers such as Ligeti, Xenakis, Ferrari, Berio, Krauze or Montague, who often wrote works especially for her. Heavy metal is nothing compared to this.'
- Fransien van der Putt, Theaterkrant, 14 July 2021
'Martens’ movements and physical appearance (with beautiful costumes by Cédric Charlier) create space and time to consider how the music feels, and then offer a fitting response. […] In the end, the most important question Martens’ solos explore is how to carve out a space for oneself faced with intimidating power.'
- Wendy Lubberding, Movement Exposed, 15 July 2021
'With her flamboyant style, she converted the general public to harpsichord music, which is not an easy genre. In his intense tribute to Chojnacka, Jan Martens does exactly the same. […] Together with the many historical references in Cédric Charlier’s costume design, Martens keeps dance and music history very much alive.' ★★★★☆
- Charlotte De Somviele, De Standaard, 21 September 2021
'In his solo Elisabeth Gets her Way, dancer and choreographer Jan Martens puts his finger on the innovative significance of Elisabeth Chojnacka (1939–2017) so ingeniously and precisely that you are left in admiration.' ★★★★★
- Annette Embrechts, De Volkskrant, 15 July 2021
'A danced ode to a Polish harpsichordist – sounds inaccessible, but Jan Martens makes it compelling. […] With his movements he unravels the complexity of the music and makes sure that you continue to listen attentively, delivering an overwhelming introduction to a brilliant musician. The variety of Chojnacka’s repertoire goes hand in hand with her breathtaking virtuosity. […] all elements in Elisabeth Gets her Way interact to offer the richest possible image of a unique artist.'
- Marijn Lems, Cultureel Persbureau, 17 August 2021
'Chojnacka’s voice is played out across the stage delivering her magical formula that Martens could easily make his own: “I perform with my head, my hands, my body, and it is glorious!” And it is just as glorious to watch and hear Martens and Chojnacka fuse their art in a riveting celebration of radical emotional force.'
- Evgeny Borisenko, Tanzschreiber, 13 October 2021
selected for Het TheaterFestival 2022
'Martens' choice for a direct translation between dance and music - with rhythm, emotion, and intensity as a shared factor - makes the performance extraordinarily open and accessible.[...] Elisabeth gets her way is an exceptional artistic essay, a tribute from one great artist to another.'
- Jury report Het TheaterFestival 2022
CHOREOGRAPHY AND DANCE: Jan Martens
SOUND DESIGN DOCUMENTARY: Yanna Soentjens
LIGHTING DESIGN: Elke Verachtert
COSTUME DESIGN: Cédric Charlier
VIDEO EXCERPTS: © Archives INA
VIDEO DESIGN: Sabine Groenewegen
TECHNICIAN: Michel Spang/Elke Verachtert
OUTSIDE EYE: Marc Vanrunxt, Anne-Lise Brevers and Rudi Meulemans
MUSIC: “Tango for Tim” Réf Im: 164578 Musique de Michael Nyman © Chester Music Ltd représentés par Première Music Group; "Phrygian Tucket” by Stephen Montague. Copyright © 2000, Stephen Montague, used by permission of UNITED MUSIC PUBLISHING LTD, England.; “Continuum” by György Ligeti. Het werk wordt gepresenteerd onder toezicht van Auteursbureau ALMO te Antwerpen namens Schott Music.; “Commencement" by Zygmunt Krauze. Copyright © 1982, Sonora Music for Zygmunt Krauze.; "Profil Sonore" by Graciane Finzi. Copyright © 1970, Graciane Finzi.; "Concerto pour Clavecin” by Manuel de Falla (1926).; "Uppon La Mi Re” by Anonymous (16th Century).
PRODUCTION: GRIP (Hanne Doms, Anneleen Hermans, Sam Loncke, Rudi Meulemans, Lize Meynaerts, Klaartje Oerlemans, Jennifer Piasecki, Sylvie Svanberg, Ruud Van Moorleghem, Nele Verreyken)
COPRODUCTION: DE SINGEL (Antwerp, BE), Les Hivernales – CDCN d’Avignon (FR), Julidans (Amsterdam, NL), C-TAKT (Limburg, BE) and Perpodium (BE)
INTERNATIONAL DISTRIBUTION: A Propic – Line Rousseau, Marion Gauvent, Lara van Lookeren
RESIDENCIES: DE SINGEL (Antwerp, BE), Les Hivernales – CDCN d’Avignon (FR), Toneelhuis (Antwerp, BE), ccBe (Antwerp, BE), C-TAKT (Limburg, BE) and CN D – Centre national de la danse (Paris, FR)
WITH THE FINANCIAL SUPPORT OF: the Flemish Government, Tax Shelter of the Belgian Federal Government and Cronos Invest
THANKS TO: INA - l'Institut National de l' Audiovisuel, Les Ballets de Monte-Carlo sous la Présidence de S.A.R. la Princesse de Hanovre - Direction: Jean-Christophe Maillot, Graciane Finzi, Régis Mitonneau, Anne Montaron, Emmanuelle Tat, François-Bernard Mâche, Zygmunt Krauze, Stephen Montague, Raphaël de Gubernatis, Claire Verlet, Ty Boomershine, Joris van Oosterwijk, Liselotte Sels and Kinga Jaczewska