From the Korea Herald 10 April 2013
William Forsythe on Foucault’s ’space of otherness’
The “space of otherness” is what iconoclastic choreographer William Forsythe is bringing to Korea this week with the Korean stage debut of his 2006 work “Heterotopia.”
A site-specific dance which requires the audience to move between two rooms on stage, “Heterotopia” explores the theme of language and its interpretation, as well as the meaning of theater as a space.
The title of Forsythe’s work is derived from French philosopher Michel Foucault’s essay “Des Espaces Autres,” which uses the term “Heterotopia” to describe “spaces of otherness” that are “neither here nor there,” such as the moment one sees himself in the mirror. There is also a raucous soundtrack performed in incomprehensible yet intelligible languages, blurring the boundary between music and the human spoken language.
“Heterotopia” has been initially staged in “properties without seats,” and this week’s Korean runs, being held at Seongnam Arts Center from Wednesday to Sunday, are a rare opportunity to experience the work in a conventional theater.
Only 300 audience members will be admitted to each show at the theater venue, which is normally capable of holding more than 1,800 viewers. All audience members will be asked to ascend onto the stage to see the work.
A scene from William Forsythe’s “Heterotopia.” (Seongnam Arts Center)
The American choreographer met with local reporters on Tuesday in Seoul and shared his thoughts on a number of subjects, including “Heterotopia,” his musical upbringing, Foucault’s influence in his works, and the “crisis” in the world of classical ballet today.
Q: “Heterotopia” requires the audience to move between two rooms. Tell us more.
A: “Heterotopia” is a work which is hard to see, but it’s easy to hear. It is slightly deceptive. In one room, what looks like a dance is actually a concert that looks like a play. And this concert is actually the music for a different work that takes place in another room. So dancers, when they move, are not “dancing,” per se. They are conducting like an orchestra. But sometimes the conductors follow the musicians. So there are many overlapping structures of responsibility and initiation. I hope the public will take the initiative to change rooms because if you stay in one room, you don’t understand anything.
Foucault News 