Anne Teresa, Baroness de Keersmaeker

Anne Teresa, Baroness de Keersmaeker (, born 1960 in Mechelen, Belgium, grew up in Wemmel) is a contemporary dance choreographer.

She studied from 1978 to 1980 at Mudra in Brussels, a school with links to La Monnaie and to Maurice Béjart's Ballet of the 20th Century.

She has said that the percussionist and her music teacher at MUDRA, Fernand Schirren, was a major influence on her.

While at the Tisch, she presented her first production, Asch (1980), in Brussels.

In 1981, she attended the Tisch School of the Arts at New York University.

In 1982 upon her return from the U.S.A. she created Fase, four movements to the music of Steve Reich.

It was this production that brought her "a breakthrough on the international dance scene, performing, among other places, at the Avignon Festival".

The success of Fase contributed largely to the foundation of the Rosas in 1983.

Rosas danst Rosas, de Keersmaeker's first choreography for the young company to new compositions of Thierry De Mey and Peter Vermeersch, brought Rosas the international breakthrough as a company.

During the eighties, Rosas was supported by Kaaitheater of Brussels (director Hugo De Greef).

Within the framework of Kaaitheater, her oeuvre took shape.

Performances such as Elena's Aria (1984), Bartók/Aantekeningen (1986), a staging of Heiner Müller's triptych Verkommenes Ufer/Medeamaterial Landschaft mit Argonauten (1987), Mikrokosmos-Monument Selbstporträt mit Reich und Riley (und Chopin ist auch dabei)/In zart fliessender Bewegung - Quatuor Nr.4, (1987), Ottone, Ottone (1988), Stella (1990) and Achterland (1990), were produced in collaboration with Kaaitheater.

At the start of the residency, de Keersmaeker set herself three objectives: to intensify the relation between dance and music, to build a repertory, and to launch a dance school (after the disappearance of MUDRA from Brussels in 1988).

That year, Rosas created ERTS and released Rosa -- a film of a choreography by Anne Teresa De Keersmaeker to Bartók music directed by Peter Greenaway.

Later that year, Rosas created Mozart Concert Arias, un moto di gioia for the Avignon Festival.

A production made in collaboration with the Orchestre des Champs Elysées, directed by Philippe Herreweghe.

The dance company constructed around her, Rosas (dance ensemble), was in residence at La Monnaie in Brussels from 1992 to 2007.

De Keersmaeker did not study dance until her last year of high school, instead studying music, specifically the flute.

In 1992, La Monnaie's general director Bernard Foccroulle invited Rosas to become the resident company of Brussels' Royal Opera De Munt/La Monnaie.

In 1993, Rosas created Toccata, to the music of J.S. Bach, for the Holland Festival.

In May 1994, the KunstenFESTIVALdes Arts in Brussels premièred Kinok, produced in collaboration with Thierry De Mey and the Ictus Ensemble.

At the end of 1994, this collaboration resulted in a new creation: Amor Constante más allá de la muerte.

In November 1995, La Monnaie premièred Verklärte Nacht, a choreography that was part of a production of Schönberg music Erwartung/Verklärte Nacht.

In 1995, Rosas and La Monnaie launched in Brussels a new international school for contemporary dance, the Performing Arts Research and Training Studios (PARTS), where sixty students coming from some 25 countries are trained, over a three-year period, by more than 50 teachers.

In December 1996, Woud, three movements to the music of Berg, Schönberg & Wagner was premièred in Seville.

At the beginning of 1997, de Keersmaeker created, together with Steve Paxton and The Wooster Group, 3 solos for Vincent Dunoyer.

In November 1997, Just Before, to a live performance by the Ictus Ensemble of music composed by Magnus Lindberg, John Cage, Iannis Xenakis, Steve Reich, Pierre Bartholomée and Thierry De Mey, was presented in La Monnaie.

In February 1998, de Keersmaeker made her debut as an opera director at La Monnaie with Bartók's Duke Bluebeard's Castle.

In August 1998, the Impuls Festival in Vienna premièred Drumming, a production to Steve Reich's composition of the same name.

In November 1998 she created The Lisbon Piece, for the Portuguese Companhia Nacional de Bailado: her first experience as a guest choreographer.

In March 1999, de Keersmaeker created, together with Rosas dancer Cynthia Loemij, and Jolente De Keersmaeker and Frank Vercruyssen from the theatre company STAN, Quartett; a dance-theatre performance based on the text by Heiner Müller.

One month later, she choreographed and danced a duet with Elizabeth Corbett for the production with/for/by.

In May 1999, Rosas premiered I said I, a collaboration with Jolente De Keersmaeker for the direction, with the Ictus Ensemble, Aka Moon and DJ Grazzhoppa for the music composition and execution.

Jan Joris Lamers designed the set and lighting and Dries van Noten the costumes.

For In Real Time in 2000, Rosas again collaborated with Stan, as well as with the jazz-ensemble Aka Moon for the composition and live interpretation of the music.

In January 2001, de Keersmaeker created Rain, another performance to a score by Steve Reich, his Music for 18 Musicians.

2002 saw the celebration of twenty years of Rosas and ten years of residence at La Monnaie, with the re-run of the text-pieces, the creation of (but if a look should) April me and Rain live, the two latter accompanied by Brussels contemporary music ensemble Ictus.

A 336 pages book Rosas, if and only if wonder was published and a multimedia exhibition was organised in newly opened halls at the Centre for Fine Arts, Brussels, and was attended by over 15,000 people.

Once, a solo to the music of Joan Baez, concluded the celebration year's performances.

2003 showed yet a new evolution: whereas in the past her choreographies had been very precise and closely linked to the music, in Bitches Brew / Tacoma Narrows, De Keersmaeker for the first time allowed improvisation by her dancers during the performance.