"We don't see things as they are, we see them as we are" Anais Nin

DANCE WITH ANGELS – ΧΟΡΟΣ ΜΕ ΤΟΥΣ ΑΓΓΕΛΟΥΣ

6000 Miles Away: Η Sylvie Guillem στο Ηρώδειο – Ιούλιος 2011 – Αθήνα

Η Sylvie Guillem / Συλβί Γκυγιέμ δεν χρειάζεται συστάσεις. Για μένα όμως η γαλλίδα χορεύτρια αποτελεί ένα θείο δώρο, όμορφο και σπάνιο. Την παράσταση “6000 Miles Away” την πρωτοπαρουσίασε στο μαγευτικό ναό του χορού στο Λονδίνο, στο  Sadler’s Wells στις αρχές Ιουλίου.

Η Sylvie Guillem / Συλβί Γκυγιέμ αναγνωρίζεται ευρέως ως μια απ’τις μεγαλύτερες χορεύτριες όλων των εποχών. Είναι ίσως η μοναδική χορεύτρια κλασικού μπαλέτου που μεταπήδησε στο σύγχρονο χορό και πρωταγωνίστησε με τόση ένταση, πυκνότητα και ποιότητα και σε αυτό το είδος.

Sylvie Guillem in Mats Ek's Bye. Photo courtesy Sadler's Wells.

Η αγαπημένη χορεύτρια του Νουρέγιεφ, που αυτός την ανέδειξε σε αστέρι, έρχεται στην Αθήνα για να παρουσιάσει χορογραφίες τριών μεγάλων χορογράφων, του Mats Ek, του William Forsythe και του Jiří Kylián.

Μετά τη πετυχημένη συνεργασία της με τον Σουηδό Mats Ek, στο “Wet Woman” και στο “Smoke”, η Sylvie Guillem θα παρουσιάσει τη χορογραφία “Bye”, βασισμένη πάνω στη τελευταία σονάτο για πιάνο του Beethoven / Μπετόβεν: ήδη η γερμανική εφημερίδα Frankfurter Allgemeine Zeitung έχει ανακυρήξει το “Bye”, που γράφτηκε ειδικά για τη Συλβί Γκυγιέμ, ως αριστούργημα.

 στον Observer  της The Guardian  παρακολούθησε τη παράσταση στο Sadler’s Wells και έγραψε πριν από λίγες μέρες:

“Something of a relief, then, to switch to Mats Ek’s Bye. This opens with some tricksily cute cutting between film of Guillem and the dancer herself. Ek’s designer, Katrin Brännström, has costumed Guillem in an oddly assorted outfit of cardigan, blouse, skirt and socks. On anyone else it would appear dowdy; on Guillem it’s quirkily chic. Her movements are stereotypical: now puppet-like, now crazily purposeful. She may be a frustrated suburban matron; she may be that archetypal Ek heroine, the long-term, institutionalised mental patient. At intervals, she seems to recall a childhood dream of dancing, and launches into a sensuously high kick or snappy turn. More than once, she balances on her head. The piece is touching, but too self-consciously whimsical to be truly poignant. Unlike the figure of Guillem herself. There’s that extraordinary body, with its racy, sinewy lines. And the face, touched with the knowledge that one day, all of this will have to end. But not yet.”

Sylvie Guillem in Mats Ek's Bye. Photo courtesy Sadler's Wells.

Σχεδόν 20 χρόνια από τότε που δημιούργησε το θρυλικό “In the Middle, Somewhat Elevated”,  0 Γουίλιαμ Φορσάιθ /William Forsythe χορογραφεί ένα ολοκαίνουργιο ντουέτο, το “Rearray”, για την Guillem και ένα από τα μεγαλύτερα αστέρια του Teatro alla Scala, τον Massimo Murru.

Η Barbara Newman έγραψε στο Dance Magazine για το Rearray:

“William Forsythe’s Rearray is his fourth creation for Guillem, who appeared in the original cast of his In the middle, somewhat elevated 24 years ago. Physically fragmented, to an equally fragmented score by David Morrow that added nothing to the choreography, the new duet interleaves a string of absorbing solos with intimate duets. Initially the partners ignored one other, merely occupying the same space, but drawing nearer they eventually shared a single impulse.

Between the disjointed kinks of the combinations, Guillem and Nicolas Le Riche passed like lightning through the ideal positions of the classical vocabulary, which they both acquired in the Paris Opéra Ballet’s rigorous school. Easily maintaining the habits of a lifetime, with their limbs at full stretch or folded into phrases that shifted by fractions, they displayed absolute control over pace, dynamics, and direction, so at every instant we saw precisely what Forsythe intended.

Rearray took its character directly from the movement, a riveting reinvention of the familiar, and from the charismatic performers whose innate authority somehow made every gesture both a question about dance’s potential and its own answer.”

Η ολοκλήρωση της βραδιάς είναι ένα ντουέτο που δημιουργήθηκε  από τον Jiří Kylián / Γίρι Κίλιαν το 2002, με το τίτλο ” 27’52” και παρουσιάζεται από χορευτές που επέλεξε ο χορογράφος, την Aurélie Cayla και τον Kenta Kojiri.

Η Judith Mackrell έγραψε για τη δημιουργία του Jiri Kylian “27′ 52”:

“27’52” is a crowd pleaser, rich in sculpted burnished movements and sexy design. While it is beautifully performed by Aurelie Cayla and Kenta Kojiri, it distracts from the evening’s focus. And that is only, ever, Guillem herself.”

Οι παραστάσεις του 6000 Miles Away είναι στις 19 και 20 Ιουλίου στο Ηρώδειο, στις 21.00.

Τη στιγμή που γράφεται το κείμενο τα εισιτήρια είναι πλέον sold out.

Sylvie Guillem in Mats Ek's Bye. Photo courtesy Sadler's Wells.

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Dance With Angels 17 – Natalia Bessmertnova – Наталья Игоревна Бессмертнова

Dance With Angels Series

Dance With Angels

– 17 –

Natalia Bessmertnova – Наталья Игоревна Бессмертнова

photo-by-leonid-zhdanov3

“The Gold Standard”

1941 – 2008

Prima Ballerina Bolshoi


Russia

natalia-bessmertnova-1963

Giselle 1986.
Interviews and rehearsals
with Natalia Bessmertnova, Nina Ananiashvili, Andris Liepa and Galina Ulanova.
Наталия Бессмертнова, Нина Ананишвили, Андрис Лиепа, Галина Уланова.

bessmertnova-in-her-signature-role-as-giselle-photo-by-judy-cameron

Bessmertnova in her signature role as Giselle - photo by Judy Cameron


Natalia Bessmertnova and Alexander Bogatyrev in Legend of Love. Bolshoi Ballet.
Наталия Бессмертнова и Александр Богатырев.

22

as Giselle

31

as Giselle


Natalia Bessmertnova and Marina Semyonova rehearsing Dying Swan.
Bolshoi Ballet.
From an old tape so picture and sound quality is not very good.
In Russian.
Наталия Бессмертнова и Марина Семенова.

photo-by-leonid-zhdanov5

She was born in Moscow in 1941 and trained at the Bolshoi Moscow Ballet School from 1953 to 1961.
Among her teachers were Maria Kozhukhova and Sofia Golovkina, and later Marina Semyonova.
She graduated in 1961 as the first student in the school’s history receiving A+ in the final examinations.
In 1963 she joined the Bolshoi Ballet and was its prima ballerina for three decades.
She was married to Yuri Grigorovich, former Director and Chief choreographer of the Bolshoi.
When Grigorovich was forced to leave the Bolshoi in 1995,
she took part in a historic strike which led to cancellations of scheduled performances.
Bessmertnova
died in Moscow on 19 February 2008, aged 66, from cancer.

biography notes by Wikipedia

12

Natalia Bessmertnova, Ballerina of Innate Lyricism, Dies at 66

posted in NEW YORK TIMES

By JACK ANDERSON

Published: February 20, 2008

Natalia Bessmertnova, a ballerina with the Bolshoi Ballet known for her lightness, delicacy and Romantic style, died on Tuesday in Moscow. She was 66.

Yekaterina Novikova, a spokeswoman for the Bolshoi, announced her death to The Associated Press, but did not give a cause beyond saying that Ms. Bessmertnova had been “suffering from a grave illness.” The Russian media reported that Ms. Bessmertnova had kidney trouble.

The Bolshoi’s general director, Anatoly Iksanov, said her death was “a huge loss for the Bolshoi Theater and to our whole culture,” and declared her “the pride and glory of the company to which she devoted her entire life.”

A slight, pale dancer with large eyes, Ms. Bessmertnova was known for an innate lyricism that gave her dancing a mysterious, almost unearthly beauty. These qualities made her especially notable in the title role of “Giselle.”

Reviewing the Bolshoi’s London season in 1969 for The New York Times, Clive Barnes called Ms. Bessmertnova “the kind of dancer born to dance Giselle.”

“She is as fragile as a bird, has a frail, waif-like innocence, and dances with a fey sense of doom,” he continued.

Ms. Bessmertnova frequently appeared with the Bolshoi in its New York seasons. When she starred at the New York State Theater in “Swan Lake” in 1979 in the dual role of Odette, the innocent maiden transformed into a swan, and Odile, the villainous enchantress, Anna Kisselgoff wrote in The Times that Ms. Bessmertnova “had only to step on stage to establish her great sense of style and authority.” She continued, “Regality was everywhere — from her first high leap to the velvety tone of her unfolding leg extensions.”

Ms. Bessmertnova, whose mother was a homemaker and whose father was a doctor, was born in Moscow and received early dance training in the children’s classes of the Moscow Young Pioneers Palace. Encouraged by her teachers to become a professional dancer, she continued her studies at the Bolshoi’s school and entered the company in 1961, making her debut in “Chopiniana,” a ballet known in the West as “Les Sylphides,” and one in which she could display her sense of Romantic style.

Galina Ulanova, the Bolshoi’s foremost interpreter of “Giselle,” coached her in that ballet, and her repertory also included 19th-century classics and contemporary works, especially those choreographed by her husband, Yuri Grigorovich. She made particularly strong impressions as Phrygia, the poignant wife of a rebellious slave in “Spartacus”; Shirien, a fragile woman stricken with a mysterious disease in “Legend of Love,” for which Mr. Grigorovich based much of his choreography on Persian miniature paintings; and Rita, a variety-show dancer seeking to escape the world of the stage in “The Golden Age.”

Ms. Bessmertnova and Mr. Grigorovich, who had become the Bolshoi Ballet’s artistic director, left the Bolshoi organization in 1995 during a dispute with the theater’s management that prompted the first strike in the Bolshoi’s history.

The couple frequently served on the juries of international ballet competitions. Ms. Bessmertnova received many top Russian honors, including a People’s Artist of the U.S.S.R. title in 1976 and a Lenin Prize in 1986.

Natalia Bessmertnova

One of the leading dancers of the Bolshoi Ballet for more than 30 years

posted in “The Guardian”

Natalia Bessmertnova

Gold standard … Natalia Bessmertnova. Photograph: Yevgeny Umnov/AP

For more than 30 years Natalia Bessmertnova, who has died in Moscow after a long illness aged 66, was one of the leading dancers of Bolshoi Ballet. She will be remembered especially for the roles created for her by her husband, the choreographer Yuri Grigorovich.

Some idea of Bessmertnova’s qualities can be gained from the attention she attracted during the Bolshoi’s visit to London in 1963. She was in only her second year with the company and appeared on the opening night as one of a trio of swans in Swan Lake, but immediately stood out for her striking looks and the sheer beauty of her dancing. Later in that season she danced a solo as the Autumn Fairy in Rostislav Zakharov’s version of Cinderella and a pas de deux in a gala programme, all to increasing acclaim.

Bessmertnova was born in Moscow, the daughter of a doctor. She received early dance training at the Moscow Young Pioneers Palace and entered the Bolshoi school in 1952, graduating nine years later, the first pupil to achieve A-plus, the highest possible mark. She joined the Bolshoi straight after graduation and was given her first leading part, Giselle in the ballet of that name, in 1963. Giselle was to become one of her signature roles, and her interpretation was admired greatly for the lightness and delicacy of her dancing. The following year she created the part of Leili in Kasyan Goleisovsky’s Leili and Medshnun.

She was coached in her early years in the company by the great Soviet ballerina Marina Semyonova and soon added all the classic roles to her repertoire: Odette/Odile in Swan Lake, Aurora in The Sleeping Beauty and the heroine Kitri in Don Quixote.

In 1968 she married Grigorovich, who had been appointed artistic director of the Bolshoi in 1964. Thereafter she became very much associated with the leading women’s roles in his ballets; feminine, submissive, pliant, yearning. These included Shirin in Legend of Love, and Phrygia in Grigorovich’s best known work, Spartacus. She also succeeded Galina Ulanova, the greatest of all Soviet ballerinas, in two of her created roles – the sad heroine Maria in Fountain of Bakhchisarai and Juliet in Leonid Lavrovsky’s version of Romeo and Juliet, a character she would dance again in her husband’s version.

In 1975 Bessmertnova created the role of the Tsarina Anastasia in Grigorovich’s Ivan the Terrible. This was followed the next season by The Angara, a ballet about the building of a dam in Siberia, in which she played the heroine Valentina, whose affections are sought by two of ;the young men working on the project. Her last created role was in Grigorovich’s reworking of The Golden Age, premiered in 1982, where she played Rita, a nightclub dancer who abandons the decadence of the cabaret for a young fisherman – a part created by the young Irek Mukhamedov. In 1984 she danced the role of the eponymous heroine in the premiere of Grigorovich’s heavily revised production of the Petipa classic, Raymonda.

Bessmertnova won the gold medal at the Varna international ballet competition in 1965 and the Anna Pavlova prize in Paris in 1970. She was made a People’s Artist of the Soviet Union in 1976; the following year she won the USSR State prize and in 1986 was awarded the Lenin prize.

She continued as a leading ballerina at the Bolshoi until 1995. By this time discontent among some sections of the company over the lack of new works and Grigorovich’s management style – seen as unacceptably autocratic – had escalated to the point where negotiations began for his replacement. Grigorovich resigned, and Bessmertnova and a group of his supporters among the dancers led a strike in protest, leading to the cancellation of that evening’s performance.

Thereafter she devoted herself to her husband, who returned briefly to the Bolshoi before being appointed to run a company in Krasnodar in southern Russia. She was a judge at the Moscow International Ballet Competition in 1995 and was involved in coaching young dancers, including the controversial ballerina Anastasia Volochkova, who stated in an interview that one of the reasons for her association with the Krasnodar company was the opportunity to work with Bessmertnova.

Bessmertnova accompanied her husband to London last year when a gala was given at the Royal Opera House, Covent Garden, to celebrate his 80th birthday, and was prominent in the front row of the audience at a lecture he gave at Pushkin House in Bloomsbury later that week.

She is survived by him and her younger sister, Tatyana, who was also a soloist with the Bolshoi.

· Natalia Igorievna Bessmertnova, ballerina, born July 19 1941; died February 19 2008


Dance With Angels 16 – Maria Alexandrova – Мария Александрова

Dance With Angels Series

– 16 –

Maria Alexandrova – Мария Александрова

01

Prima Ballerina of Bolshoy Theatre

Russia

“La Femme Extra”

45

Maria Alexandrova and Andrei Uvarov performing Swan Lake

photo-by-anna-antipova5

photo by anna antipova

Bolshoi’s Maria Alexandrova in Don Quixote
Also showing fuette turns and dream variation!

img_2538

Maria Alexandrova and Nikolai Tsiskaridze in the coda of Le Corsaire

Maria Alexandrova, principal with the Bolshoi Ballet, as Myrtha, the Queen of the Wilis, in Giselle.
(originally on videobalet.net)

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Biography by Maria’s Alexandrova Official Site

Maria Alexandrova was born in Moscow. She started dancing at an early age in an ensemble called «Kalinka» under the direction of Alexander Fillipov, where she got her basic choreography skills.

Maria Alexandrova:
«I was brought to «Kalinka» by my Mum and the first thing I saw was an enormous wardrobe with beautiful costumes in abundance. That is why the dance for me began with the costumes and beauty that couldn’t be understood by my tiny head. I was four years old and the minimum enrolment age of 5 became a real tragedy for me. Mum still remembers how I was crying my heart out. They promised to accept me if I come after half a year. And they did keep their promise. I have loads of reminiscences! I can still remember the road to the Serafi-movich House of Culture. I remember Nadezhda Nesterovna, a small neat old woman who be-came my first dancing teacher, I remember the accordionist, the floor covered with mastic, the Chaikovsky hall, my first stage, my first performance called «The Doves».

When Alexandrova was 8 years old she saw a film on TV about the Vaganova School (today the Russian Ballet Academy named after Agrippina Yakovlevna Vaganova) and decided to do ballet professionally. Maria confidently told her parents about her desire, and in 1988 she entered Mos-cow State Choreography Academy (MSCA).

Maria Alexandrova:
«Dancing in „Kalinka“ made me happy and light-hearted until I asked myself when I was 7: „Why do people compliment me and I don’t even know or understand what I’m doing?“. After a year I saw a film about the Vaganova School. I realized that if I went studying I would under-stand and learn everything. It was the first time when I told my parents that I wanted to do ballet. I remember how mum and dad told me that they wouldn’t be able to help me, that they were very nervous about me, that nobody in our family was ever related neither to theatre nor, especially, ballet, that it was going to be very hard labour. All in all it was just doubts and anxiety, but no-body was talking me out of it. This was our first serious conversation. But at that moment I didn’t understand my parents or their fears, I just was very eager to do ballet and it seemed to me that nothing else really mattered».

During her study in the Vaganova School Maria had 3 teachers. The first three classes were taught by Lyudmila Alexandrovna Kolenchenko (she is still a teacher in MSAH). The first Alex-androva’s roles at that period were those of a Puppet in Koppelia, a dance in sabo in «Vain Pre-cautions», pas-de-trois from the «Nutcracker» ballet. In 1991 Maria Alexandova and Nina Kap-tsova for the first time in their lives danced in Bolshoy theatre — it was the Manu dance on the premier of «La Bayadere».

Classes four to five and the first year were guided by Larisa Valentinovna Dobrzhan. There were new roles in «Cranes» (with partners Maxim Korolyev and Roman Celischev), pas-de-deux from «Kopelliya» (partner Dmitry Gudanov), the performance «December» (choreography by Genrich Mayorov). During the last two years, when Alexandrova was a student in the class of Sophia Nkikolayevna Golovkina, new roles become more and more numerous: variations from the Gran pas ballet «Pahita» along with three parts with Nikolay Tseskaridze — the Seventh Waltz in «Chopiniana», Adan’s «Classical pas-de-deux» (choreography by Leonid Lavrovsky), «Grand pas classic» by Ober-Glazovsky.

Maria Alexandrova:
«Despite many complications I have happy memories of my school days. There were stern teach-ers, not always simple relations within the class, crazy schedule (we studied 6 days a week, 5 days from 9 to 18 and one day till 14.30). But I loved dancing so much that all difficulties just vanished. I’d say that the most exciting moment of my whole study period was participation in the revival of „La Bayadere“ ballet in Bolshoy theatre. This was the real adult life with loads of rehearsals and run-throughs, handsome and always joking people around and serious, real, better than anywhere in the world ballet. It was then when I decided to work in this theatre. This was the Olympus and there lived the gods and I determined to become a part of this world.»

In June 1997, still as a school student, Maria won the Ist prize and a golden medal in the Interna-tional Ballet Dancer Competition in Moscow. Shortly after that she was enrolled in the Bolshoy theatre troupe.

Maria Alexandrova:
«Competition… it wasn’t the happiest moment for me. It was the most complicated and obscure period. My dad had passed away and straight away I was facing the real adult life. It was then when I realized that not everything depends on you. Somebody may decide for you what he/she wants and try to do something in his/her own way. And I have only one thing left, which is not to give up my dream and continue doing my favourite job. It is only now that I realized what my parents were talking about when I was little. Persistence was my only weapon. For the first time I was facing loneliness — when nobody is able to help — and the fact that life is a game and I am just a toy in it. This was my last competition and since then I have never even thought of partici-pation in any.»

Alexandrova only spent one season as a Bolshoy corps de ballet dancer — the season of 1997-1998, and at that time she already began getting solo parts. During her first six years in Bolshoy theatre she was a student in a class of Marina Timofeevna Semenova and then Svetlana Dzantemirovna Adirhaeva.

Maria Alexandrova:
«I was lucky to get in M. T. Semenova’s class. It was a very difficult and constantly changing les-son. Marina Timofeevna herself happens to be a personality that can’t be fit in any frames. It seems that she knows something about life that we are just not able to understand. The first im-pression is her inflexible will. In her presence I became shy and feared to miss her single word».

During the last ten years Maria Aleandrova’s constant and indispensable coach-teacher is Tatiana Nikolayevna Golikova.

Maria Alexandrova:
«Since my very first days in the theatre I began rehearsing with Tatiana Nikolayevna Golikova, with whom I was in love since my early childhood. Her indescribably beautiful photo in Ae-gina’s part was hanging in our school hall on the second floor and I used to admire it during breaks. Sometimes we get gifts not even understanding what for. And Tatiana Nikolayevna is my luck and a gift of destiny. During 10 years of close and productive cooperation she has taught me to be a thinking ballerina, to be able to try on any masks on stage not forgetting what I really am. She taught me sincerity and honesty with myself. She made me a professional, responsible for every move, word, felling or thought».

Prizes

1997
The first prize and the golden medal of the International Ballet Dancers Competition in Moscow.

1999
Magazine «Ballet» prize «Dance soul» (nomination «Rising Star»)

2001
Sign «For achievements in culture»

2004
National theatre prize «Golden mask» for the part of Classical dancer in «Bright Stream» ballet
The prize of the tutorial council of the Bolshoy theatre

2005
The status of «Honoured Artist of Russian Federation».

Maria Alexandrova:
«Looking back I realize how much was done and how interestingly and unusually the seasons passed. I tried myself in almost all branches of ballet art. These were comedies and tragedies, dramas and plotless ballets. These were demi- and absolutely classical characters, both neoclas-sical and experimental forms. It is hard to emphasize something most interesting or exciting, the closest to me, because all this forms my childish insatiable thirst for perception. This experience gives me strength for further research and creation of something completely new. I’d say that it is now when the process of learning gives me the biggest pleasure and I am more open in my profession than ever».

Tatiana Nikolayevna Golikova’s Biography

People’s artist of Russia. Coach-ballet-master.

Tatiana Nikolayevna Golikova was born on October, 14, 1945 in Vyborg. She was accepted to the Bolshoy ballet troupe in 1965 soon after her graduation from Moscow Choreography School (today Moscow State Choreography Academy), where her coach-ballet-master was Sulamith Mihailovna Messerer, famous for her individual teaching methods. In Bolshoy Golikova was taught by an outstanding teacher Marina Timofeevna Semenova.

Tatiana Nikolayevna:
«I can’t say that when I’m teaching I suddenly remember that „this teaching technique belongs to one of my teachers, Sulamith Mihailovna or Marina Timofeevna“. But I am very glad that I had teachers from both St. Petersburg and Moscow ballet schools. From my students I demand Mos-cow freedom in dancing and St. Petersburg accuracy.»

In 1988 Tatiana Golikova finished her brilliant dancing career and in l995 she herself became a coach-trainer in Bolshoy. Maria Alexandrova along with a number of other ballet artists work under her tactful guidance.

Tatiana Nikolayevna:
«I have only been teaching for ten years and for all this time I have been learning. I learn some-thing with every student. Masha Alexandrova and I have had a number of different situations that gave me a lot».

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Maria Alexandrova: Pointes


Dance With Angels 15 – Martha Graham – Марта Грэхем

“Dance With Angels” Series

Dance With Angels

– 15 –

Martha Graham / Марта Грэхем

graham
USA – United States of America


“Dance is the hidden language of the body,

Dance is the hidden language of the soul

and every dance is a kind of fever chart,

a graph of the heart”

– Martha Graham –

martha-graham-as-clytemnestra1960

“Martha Graham was a small, birdlike woman

who was also a giant in the 20th world of modern dance.

She invented a movement vocabulary unlike that of classical ballet,

and created dances that delved into the most tortured

and ecstatic convolutions of the human psyche.”

martha-graham-in-letter-to-the-world-1941-phoyo-by-barbara-morgan


“I did not want to be a tree, a flower or a wave.

In a dancer’s body,

we as audience must see ourselves,

not the imitated behavior of everyday actions,

not the phenomenon of nature,

not exotic creatures from another planet,

but something of the miracle that is a human being.”

Martha Graham

martha_graham_2


Lamentation – Martha Graham

Choreography: Martha Graham Music by: Zoltan Kodaly

martha-graham-performing-lamentation

Dance is a song of the body. Either of joy or pain

The body is a sacred garment.

The body

is your instrument in dance,

but your art is outside that creature,

the body.

The body never lies.

The body says what words cannot.”

Martha Graham


Ovation TV | Martha Graham: The Dancer Revealed

morgankickmartha-graham_letter-to-the-world1940_photo-by-barbara-morgan

Martha Graham "Letter to the World" 1940 - photo by Barbara Morgan

“Dancing appears glamorous, easy, delightful.

But the path to paradise of the achievement

is not easier than any other.

There is fatigue so great that the body cries, even in its sleep.

There are times of complete frustration,

there are daily small deaths.”

Martha Graham

mg_medea_2

Night Journey

Martha Graham "Letter to the World" 1940 photo by Barbara Morgan

Martha Graham "Letter to the World" 1940 photo by Barbara Morgan

Martha Graham

evolved her technique of contraction and release

from the natural exhalation and inhalation of breathing.

In her early abstract works she explored movement initiated in the torso.

In the late 1930’s, Graham became interested in narrative structure and literary subject matter.

With the Japanese-American sculptor Isamu Noguchi

she created narrative locales that were both mythic and psychic.

She danced the roles of female protagonists confronting moments of crisis;

other dancers represented various aspects of the protagonist’s self in crisis.


text from:
Home of Dance Theater of the World and the Performing Arts

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Martha Graham

is known as one of the pioneers

of modern dance

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Dance with Angels 14 – Daria Pavlenko – Дарьи Павленко

“Dance With Angels” Series

Dance with Angels

– 14 –

Танцулька с ангелами

Daria PavlenkoДарьи Павленко

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Russia

principal ballerina

principal dancer of the Mariinsky Ballet

La Valse

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La bayadere

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La mort de la bayadere, Mariinsky, 2005

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Visit official site of Дарьи Павленко Darya / Daria Pavlenko

http://www.daria-pavlenko.com/