The new solo created and performed by Jan Martens is a portrait in dance of the passionate and talented Polish musician Elisabeth Chojnacka (1939-2017). She was partly responsible for the revival of harpsichord music in the mid-twentieth century. As the student protests in Paris in 1968 were shaking the foundations of old ideals, Chojnacka became acquainted with avant-garde composers such as François-Bernard Mâche and began playing the few contemporary works that existed for the harpsichord more often, along with the age-old works that she always kept in her repertoire. Partly thanks to her talent and persistence, a whole series of composers such as Ligeti, Xenakis, Ferrari, Berio and Halffter wrote new works for the harpsichord in the 1970s and 80s. Many of these works were dedicated to Chojnacka.
choreography and dance
Jan Martens
sound engineer documentary
Yanna Soentjens
lighting design
Elke Verachtert
costume design
Cédric Charlier
video clips
© Archives INA
outside eye
Marc Vanrunxt, Anne-Lise Brevers, Rudi Meulemans
technical directors
Michel Spang, Elke Verachtert
producer
GRIP
international distribution
A Propic – Line Rousseau & Marion Gauvent
co-producers
deSingel, Les Hivernales – CDCN d’Avignon (FR), Julidans (NL), C-TAKT, Perpodium
residencies
deSingel, Les Hivernales – CDCN d’Avignon (FR), Toneelhuis, ccBe, C-TAKT, CN D – Centre National de la Danse (FR)
with the financial support of
the Flemish Government, the Belgian Federal Government’s Tax Shelter, Cronos Invest
with 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 - Directors: 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, Kinga Jaczewska
ELISABETH GETS HER WAY is intended as a tribute to this remarkable woman. The soundtrack is broad, encompassing works by Nyman, Montague and Ligeti, all performed by Chojnacka. It is Jan Martens’ ambition to remain close to the sometimes complex scores in his dance. Martens plays his body the way Chojnacka played the harpsichord. He brings together various styles of movement, segueing effortlessly between registers and genres. The solo is supplemented with a documentary layer in which Chojnacka’s life and work is presented in sound.
2021 is the fiftieth anniversary of Elisabeth Chojnacka’s first album: Clavecin 2000. That makes it an excellent opportunity to pay tribute to this astonishing woman with a solo that gives her the time and space she deserves.
