Here [The Story Sleeps]

HERE [ THE STORY SLEEPS ] is a live, dynamic deconstruction of HERE [ THE FEATURE FILM ]. A multi-screen, hybrid film-concert that explores the dreamlife of cinematic narrative, HERE [ THE STORY SLEEPS ] functions on several formal, narrative and conceptual levels at once, transcending all manner of media and audience borderlines.

HIBIKI — Resonance from Far Away

Hibiki — Resonance from Far Away (1999) for which Ushio Amagatsu won a Lawrence Olivier Award for Outstanding Dance Production, represents the extremely subtle and masterful work for which Sankai Juku is known throughout the world. Hibiki has been particularly acclaimed for the solo sections created for this work. Pomegranate Arts produced the seven-city North American tour of this important work in 2010. Hibiki was co-commissioned by University of Iowa, Hancher Auditorium, the first US presenter to commission a new work by Ushio Amagatsu.


Homeland is a series of songs and stories that creates a poetic and political portrait of contemporary American culture. Conceived as one long piece of music, Homeland moves through many worlds—from Greek tragedy to American business models. The stories and songs that make up Homeland are marked by a political urgency. They address the current climate of fear, obsession with information and security. They are also—as with all of Anderson’s work—personal and utterly unique.

The music, built on the foundation of groove electronics, will feature many of the new melodic forms Anderson has been developing on the violin and in her recent work with new electronic systems and Tuvan throat singers. Anderson is joined in Homeland by several musicians skilled in improvisation so each performance is unique.
Sonically, Homeland is the most sophisticated Anderson production to date. However the electronic controls are all virtual and Homeland is a tour de force of spoken word, music and technology.


KAGEMI – Beyond the Metaphors of Mirrors

The Kage of Kagemi is shadow

The light of contrast, the image in the mirror of water’s surface

The mi is seeing and being seen

Some say Kagemi is the ancient origin of “mirror” (kagemi)

In light, the surface that reflects and is reflected, looked into and looking back

Surface beginning in the horizontal water plane and transforming to the perpendicular face

From an ambiguous and transient state to one clearly outlined

The right hand asks, the left hand answers

Once an imaginary sur-face is defined

– Ushio Amagatsu


Ⅰ   Wind in the water depths

Ⅱ   MANEBI – two mirrors

Ⅲ   Echoings of gaze and return gaze

Ⅳ   In the light by the waterside

Ⅴ   Infinite dialogue

Ⅵ   Empty / Full

Ⅶ   CHIRAL / ACHIRAL, Agitation and Sedimentation


Inspired by the challenge to create a work for a world audience on the occasion of the Athens Cultural Olympiad in Summer 2004, Philip Glass has conceived a new evening-length work that contemplates the Earth’s relationship to the constellations as interpreted by the world’s many cultures.

Conceived in ten movements, the work features the Philip Glass Ensemble in collaboration with seven of the world’s most esteemed composer/performers who will perform live with the Philip Glass Ensemble. Each guest composer was chosen for their unique mastery of a global musical tradition and worked in close collaboration with Philip Glass to incorporate their individual perspective into the composition. Guest collaborators include Australian didgeridoo master, Mark Atkins; West African Griot Foday Musa Suso Indian composer and sitar master Ravi Shankar who composed a work with Philip to be performed by Kartik Seshadri; Nova Scotian fiddler Ashley MacIssac Brazil’s UAKTI ; pipa virtuoso Wu Man of China; and contemporary Greek vocalist Eleftheria Arvanitaki

Philip Glass Shorts

“For film, music, next to primary visual aspects like cinematography and color, is probably the most important element.  Yet to those of us who are in the business of making movies, we act as if music is almost an afterthought.  That, of course, is terrible.  It’s more than a mistake because it means that those who treat music as an afterthought have lost a powerful artistic ally.”   —Philip Glass

Created especially for the Philip on Film retrospective, Shorts is an event that embraced a format that is enjoying an unprecedented surge in popularity by filmmakers and filmgoers young and old, SHORTS is an evening full of wild possibilities, the potential for diversity, collision and discovery.

In addition to the premiere of two live concert screenings of “Evidence” and “Anima Mundi” by Godfrey Reggio, Philip Glass invited Atom Egoyan, Peter Greenaway, Shirin Neshat and Michal Rovner to create silent short films for which he will wrote musical scores to be performed live by the Philip Glass Ensemble.  Philip Glass selected these four international collaborators, widely recognized as pioneers in the worlds of independent film, video, and visual art, in a unique reversal of the typically director-driven process of choosing music for a film.   These first-time collaborators represent Philip Glass’ vision of truly pioneering filmmakers at work today.


Shockheaded Peter

Long before The Simpsons and South Park, Tim Burton and Edward Gorey, there was Heinrich Hoffman, a doctor in a German lunatic asylum who, in 1844, wrote a children’s book of original tales warning of absurd punishments for naughty acts. The book, entitled, The Struwwelpeter, is a classic collection of delightful horrors for all ages.

An instant classic in its own right, the stage production of SHOCKHEADED PETER has winning rave reviews around the world as one of the most original collaborations of its kind.




A collaboration between Philip Glass and West African griot and master kora player Foday Musa Suso, The Screens was an enchanting and exotic synthesis of African and Western musical traditions with an Arabic twist. The Screens was performed in jazz and world music series, intimate concert halls and outdoor festivals.


TOBARI – As if in an Inexhaustible Flux

TOBARI: In Japanese, tobari is a veil of fabric hung in a space as a partition. Since olden times, tobari has been used poetically to express the passage from day to night in expressions like wrapped in the veil of night. — Ushio AMAGATSU

Scene Title :

I           From unlimited nothingness

II          A shadow in a dream

III         Reflecting on each other

IV         A vertical dream of the future 

V          Night blue 

VI         In an inexhaustible flux 

VII        Into unlimited nothingness

The Yellow Pony

Presented for the first time together in public , American artists Laurie Anderson and Lou Reed share classic and recent works in this intimate evening of music, stories, songs and poems.

The evening will draw from a wide range of their work: beat-driven improvised instrumentals, spoken pieces from their theater works and songs and duets about love and its many cousins.