"Koyaanisqatsi Live" with the Philip Glass Ensemble

The Philip Glass Ensemble comprises the principal performers of the music of Philip Glass. Glass founded the ensemble in 1968 in New York City as a laboratory for his music. Its purpose was to develop a performance practice to meet the unprecedented technical and artistic demands of his compositions. In pioneering this approach, the group became a creative wellspring for Glass, and its members remain inimitable interpreters of his work.

The artists of the Philip Glass Ensemble recognize their unique position in the history of music of the past half-century, and passing on that legacy is part of their practice. A deep dedication to educating the next generation of musicians is integral to the ensemble’s work, both on tour and as the ensemble-in-residence at the Philip Glass Institute at the New School. 

The group debuted at the Whitney Museum of American Art in 1969 and in its early years performed primarily in the galleries, artist lofts, and museums of SoHo’s then-thriving artistic community. In the five decades since, the ensemble has performed in world-renowned music festivals and concert halls across five continents (including the Center for the Arts’ inaugural concert in 2013), and has made records with Sony, Nonesuch, and Orange Mountain Music.

Many of Philip Glass’s most celebrated works were expressly composed for the ensemble: its core concert pieces Music in Twelve Parts, Music in Similar Motion, and Music with Changing Parts; the opera and musical theatre projects Einstein on the Beach, Hydrogen Jukebox, 1000 Airplanes on the Roof, and Monsters of Grace; and the full-length dance works Dance (Lucinda Childs) and A Descent Into the Maelström (Australian Dance Theater). The group is most widely acclaimed for its soundtracks to Godfrey Reggio’s trilogy of wordless films: Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi. It is also featured in Glass’ operas, La Belle et la Bête and The Photographer.

The Philip Glass Ensemble is the exclusive performer of its repertoire and is dedicated to bringing it to audiences worldwide.  

Through his operas, symphonies, compositions for his own ensemble, and wide-ranging collaborations with artists from Twyla Tharp to Allen Ginsberg and Leonard Cohen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times. 

Glass has written music for experimental theatre and for Academy Award-winning motion pictures such as The Hours and Martin Scorsese’s Kundun, while Koyaanisqatsi, his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since Fantasia.

His associations, both personal and professional, with leading rock, pop, and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Glass has composed more than 25 operas, large and small; 14 symphonies; 13 concertos; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; nine string quartets; and a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others.

Indeed, Glass is the first composer to win a wide, multigenerational audience in the opera house, concert hall, dance world, film, and popular music — simultaneously.

Koyaanisqatsi is a Hopi word that means "life out of balance." The film explores the relationship between humanity, technology, and the natural world through powerful imagery and Philip Glass' iconic score.

It's both. Koyaanisqatsi is screened in its entirety while the Philip Glass Ensemble performs the complete score live. Experiencing the music performed live alongside the film creates a powerful, immersive experience unlike watching the film or hearing the soundtrack separately. 

No. Philip Glass does not appear in this performance. The score is performed live by the Philip Glass Ensemble, the group Glass founded in 1968 to perform his music.

No. Koyaanisqatsi is a wordless film. Its story unfolds through striking visual imagery and Philip Glass' live score, inviting each audience member to interpret the experience in their own way. 

Not at all. There is no plot to follow in the traditional sense. Instead, Koyaanisqatsi invites audiences to experience the relationship between image and music and reflect on its themes in their own way. 

Yes. Philip Glass' music is known for its rhythmic, hypnotic style, and Koyaanisqatsi combines that music with stunning cinematic imagery. Many people discover Glass' work through this film, making it an excellent introduction to his music. 

Since its 1982 release, Koyaanisqatsi has become a landmark of experimental cinema. Its groundbreaking combination of time-lapse photography, slow-motion imagery, and Philip Glass' minimalist score has influenced generations of filmmakers, composers, and visual artists. 

No. The performance runs approximately 90 minutes with no intermission.

The most important thing is that you're comfortable. There is no dress code, so do what feels right for you. Do you want to get dressed to the nines for a special night out? You won't be the only one. Do you feel like keeping things casual? You won't be alone there, either.  

All campus parking, including along Alumni Mall, requires a parking permit from 7:00 a.m. to 10:00 p.m., unless otherwise noted by signage. 

Parking is available in the North End Parking Garage on Turner Street at 300 Turner Street NW.

• For many Center for the Arts performances and large events, this garage will be staffed by an attendant and payment ($10, cash only) must be made at the time of entry. This event parking price is $2 higher than the garage’s daily rate to allow us to provide staffing to make both entering and exiting the garage more efficient for larger numbers of cars. You may exit at the Turner Street gate.
• All other times, visitors can take a ticket upon entrance and pay the $8 daily rate using Visa or Mastercard when exiting.

Convenient parking is also located in downtown Blacksburg. Town parking is free every day after 5:00 p.m.

Patrons are always welcome to drop off and pick up guests directly at the main doors of the Center for the Arts on Alumni Mall and Turner Street.

Allowing yourself extra time improves the experience for everyone! We recommend arriving at least 45 minutes prior to the start of the performance so you have plenty of time for the safety screening and to get settled in your seats. Our lobbies and galleries open 90 minutes before performances, and the theatre doors open 30 minutes before the performance start time. Ushers will direct you to your seat and are happy to answer any questions.

For the safety of our guests and performers, all patrons may be required to pass through a walk-through metal detector before entering the theatre. The process is quick and touchless, and you may keep your personal belongings with you. If you need an alternate screening method, please speak with a member of our security team.

A small or clutch-size purse or clear bag is recommended. Oversized bags, luggage, and backpacks will not be permitted inside the theatre. Coat check will be available to check these items.

Concessions from Blacksburg Wine Lab are available for most performances. Concessions availability and locations will be included in the What to Know email for ticket holders. Concessions are available beginning an hour before the performance, so arrive early to avoid the lines and enjoy a drink before the show.

Yes. Beer, wine, and non-alcoholic beverages purchased from concessions may be enjoyed inside the Anne and Ellen Fife Theatre when served in an approved Center for the Arts reusable cup. The cup is yours to keep, so wash it at home and bring it back to be refilled at future events where Blacksburg Wine Lab operates concessions. Other cups, containers, and outside beverages are not permitted. Learn more on our blog.

Cameras and recording equipment are not permitted inside the theatre during performances. To avoid distracting the artists and those around you, please turn off or silence your cell phone and put away all electronic devices before the performance begins. Photography, video recording, and audio recording are not permitted unless otherwise announced.

If you’re late, you may hear the beginning of the performance from the lobby while you wait to take your seat — either until intermission or an appropriate break in the program as requested and advised by the artists. Admitting late arrivals into the theatre is timed to cause as little disruption as possible to other guests and the performers on stage. In some cases, you may be seated in an alternate location in the theatre.

You will receive a “What to Know” email approximately 48 hours before the performance with helpful information on approximate runtimes, pre- and post-show activities, and any other information you will need to know before you head out the door. 

We are committed to being fully accessible to all patrons and their companions and strive to make our patrons’ experiences convenient and comfortable. In addition to our venue’s universal design features, we offer services and accommodations for parking, seating, listening, sensory support, courtesy wheelchair, elevators, restrooms, service animals, sign language, and visual aids. Find out more. 

No. Mobile tickets displayed on your smartphone are welcome, though printed tickets are also accepted.

While all sales are final, tickets to most events may be exchanged for another Center for the Arts performance within the current season. Please contact the box office at artscenter@vt.edu or by phone at 540-231-5300 at least one hour in advance of the scheduled performance to request an exchange. Refunds may be offered in extenuating circumstances at the discretion of the box office manager.