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.
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.
“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.”
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.
“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.
“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.
Dance With Angels Series
– 16 –
Maria Alexandrova – Мария Александрова
Prima Ballerina of Bolshoy Theatre
“La Femme Extra”
Maria Alexandrova and Andrei Uvarov performing Swan Lake
Bolshoi’s Maria Alexandrova in Don Quixote
Also showing fuette turns and dream variation!
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)
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.
«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).
«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.
«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.
«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.
«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.
«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».
The first prize and the golden medal of the International Ballet Dancers Competition in Moscow.
Magazine «Ballet» prize «Dance soul» (nomination «Rising Star»)
Sign «For achievements in culture»
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
The status of «Honoured Artist of Russian Federation».
«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.
«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.
«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».
“Dance With Angels” Series
Dance With Angels
– 15 –
Martha Graham / Марта Грэхем
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 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.”
“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.”
Lamentation – Martha Graham
Choreography: Martha Graham Music by: Zoltan Kodaly
“Dance is a song of the body. Either of joy or pain
The body is a sacred garment.
is your instrument in dance,
but your art is outside that creature,
The body says what words cannot.”
Ovation TV | Martha Graham: The Dancer Revealed
“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.”
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.
is known as one of the pioneers
of modern dance
Dance with Angels
– 14 –
Танцулька с ангелами
Daria Pavlenko – Дарьи Павленко
principal dancer of the Mariinsky Ballet
La mort de la bayadere, Mariinsky, 2005