We set out early... Visibility was poor
Création 1998
| Chorégraphie | Bill T. Jones |
|---|---|
| Danse | Miguel Anaya |
| Germaul Barnes | |
| Alexandra Beller | |
| Eric Bradley | |
| Christian Canciani | |
| Toshiko Oiwa | |
| Daniel Russell Kubert | |
| Rosalynde Leblanc | |
| Odile Reine-Adelaide | |
| Maya Saffrin | |
| Costumes | Liz Prince |
| Lumières | Robert Wierzel |
| Musique | 1ère partie
|
| On The TS II
| |
| Igor Stravinsky (L'Histoire du soldat) | |
| 2ème partie
| |
| Cape Bardo
| |
| John Cage (Empty Words, Sonata, Music or Marcel Duchamp) | |
| 3ème partie
| |
| Voiceland
| |
| Pēteris Vasks (Stimmen, Symphony for Strings) | |
| Assistanat à la scénographie | John Clement |
Dates
| 1998 | Festival d'Automne à Paris (Paris) | → | [5 rep.] | Maison des Arts de Créteil (Grande salle) (Créteil) |
Partenaires de production
| Coproduction | American Dance festival (Durham) |
| Brooklyn Academy of Music (New York) | |
| The Kennedy Center (Washington) | |
| New England Foundation for the Arts (Boston) | |
| National Endowment for the Arts (Washington) | |
| North Carolina Museum of Arts (Raleigh) | |
| Philip Morris Companies Inc [États-Unis] | |
| UCLA Center for the Performing Arts (Los Angeles) | |
| University of California, San Diego (San Diego) | |
| Coréalisation | Maison des Arts de Créteil (Créteil) |
| Festival d'Automne à Paris (Paris) |