Thanks for sharing your experience! It was intense on the inside, too-

Yes, this is the choreography from 1984, and I'm the dancer on the left with Fabrice Mazliah. Glad you are enjoying it!

Ah, I love that work, I don't have a copy, though, sorry!

@@DanaCaspersen Thank you dear Dana. I really wanted to see that work. it's become my dream. thanks by the way for reply my massage.

Thank you for your thoughts. The whole piece is not online at the moment, we'll get it there eventually!

Thanks for sharing your experience!

Same! Forsythe alongside Vandekeybus and Kylian was my 90s dance revelation. 97 for me Paris Place du Chatelet

Thank you, Gloria!

so good :-))

London 2001

One can access a video capture of the whole work at the dance library in NYC.

+Leigh Fitzjames. It's snow made of paper-

nice, thanks!

it's snooooooooooooooowiiiiiiiiiiiiiiiiiiiing

+Nilas spasov, those gestures make much more (organic) sense if you've seen the first act of the ballet. The whole three acts of the ballet constitute a summary of or meditation upon of the history of the form, and the gestures are a combination of the way dancers "mark" with the arms as well as ballet mime from more classical works. This section is an evolution from the first act. The third sort of brings the whole thing together again. But this is very much contemporary dance, and was part of a huge change (back in the 70s) regarding ideas about what ballet could be. Looking back, one can see It changed the history of ballet as much as it summarized it. If one watches it as classical "divertissement" it can seem a little agressive or confusing.

@@nothersheep I'VE ALWAYS SEEN CONTEMPORARY BALLET AS AN EVOLUTION OF A MIXTURE OF BALLET AND MODERN AS THEY WERE IN THE 70S. IT'S INTERESTING THE CONCEPT OF "SUMMARIZING THE HISTORY OF BALLET". COULD YOU EXPLAIN MORE, PLEASE?

@@AnnabellaEdeL, Forsythe speaks about this work in interviews which you could probably do a google search for. Have you seen the whole work?

The first act introduces different archetypal characters (renaissance mime, choreographer, the "spirit of dance") all from different epochs and has them try to speak simultaneously (which is generally confusing, as they don't actually share time and can't converse directly). At different moments throughout the ballet we see vocabulary which pulls from - and choreographically "comments" upon - different eras of the form. As though we seen how contemporary ballet has been built upon what was current in different times, and then became part of history, still influencing what is "discussed"/danced now.

He speaks about it much more eloquently than I can. Google "Artifact" and "interview" and I'm sure you'll find something worthwhile.

Thanks for being there +NiPeBau! It is an extraordinary work to dance. I loved it every time.

and how i loved dancing it with you!! Im staging it now :) fond memories of us in steptext!! Highlight of my career! Thank you! love you and miss you!

Maurice Causey Oh my God...Here we are on this comment thread. Today I assigned my classes at AMDA to search this video and view it for their homework ...next we are coming back to discuss and they're real assignment is to be inspired by what I am referring to as 'the exquisite glorification of classroom work' ( referring to the corps du ballet work here- how to articulate and perform exquisite tendus, tenliés , jetés and closing 5th.) I saw this performed at the music center a few days ago and it's been constantly with me, since. So inspiring. Houston Ballet performed very beautifully. ...And I've been thinking of you setting this in Spain!. We are all connected. Love you. PS I saw Dana perform the original Artifact many years ago... I believe it was when I was dancing in Israel. Xoxo

@@Causeymoto I so loved it too! And you ; - )