One Thousand Pieces | Alejandro Cerrudo | Pacific Northwest Ballet
One Thousand Pieces | Alejandro Cerrudo2020-03-25T11:57:53+00:00

One Thousand Pieces

Music

Philip Glass
(“The Illusionist” from the motion picture soundtrack The Illusionist, 2006; “Tissue No. 7” from the film Naqoyqatsi: Life as War, 2002; “Song VII” from Songs & Poems for Solo Cello, 2007; “Renfield,” “When the Dream Comes,” “Seward Sanatorium,” “The Crypt,” “Renfield in the Drawing Room,” “Carriage Without a Driver,” and “Dr. Van Helsing & Dracula” from the motion picture soundtrack Dracula, 1998; “Etude No. 12” from Etudes for Solo Piano, Book 2: Nos. 11-20, 1994/2012; “Cassandra’s Dream” from the motion picture soundtrack Cassandra’s Dream, 2007; “The Land” from Piano Concerto No. 2: After Lewis and Clark, 2004; Mad Rush, 1979; “Knee Play No. 5” from the opera Einstein on the Beach, 1975)

Choreography

Alejandro Cerrudo

Staging

Ana Lopez, Pablo Piantino

Scenic & Costume Design

Thomas Mika

Lighting Design

Michael Korsch

Duration

70 minutes

Premiere

October 18, 2012; Hubbard Street Dance Chicago

Pacific Northwest Ballet Premiere

March 13, 2020

The 2020 Pacific Northwest Ballet premiere of Alejandro Cerrudo’s One Thousand Pieces is generously underwritten by Susan Brotman.

Program Notes

“For me, a stained glass window is a transparent partition between my heart and the heart of the world. Stained glass has to be serious and passionate. It is something elevating and exhilarating” — Marc Chagall

One Thousand Pieces was created in celebration of Hubbard Street Dance Chicago’s 35th anniversary in 2012. Choreographed by Alejandro Cerrudo, the work was inspired by Marc Chagall’s America Windows, stunning panels of glowing stained glass created by the Russian-French artist and donated to the Art Institute of Chicago in 1977—the same year Hubbard Street was founded—to commemorate America’s bicentennial.

When asked during the creative process why he chose the title One Thousand Pieces, Cerrudo replied, “Literally because of the symbolism of the work, observing how each piece of glass combines to make a whole larger piece made from many individual pieces, the same way human beings come together to create a project. The windows have inspired my choreography, but I’m not intending to teach anyone about this artwork. Instead, it’s my personal interpretation. The set designer, the music by Philip Glass, and the dancers have all inspired me. I’m not trying to tell a story or represent the art. The work will have three sections, and the scenic design is quite abstract, yet I hope everyone will be immersed in the images that will appear and connect them to the windows.”

One Thousand Pieces is the fourth work by Alejandro Cerrudo to be added to Pacific Northwest Ballet’s repertory.

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