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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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Alvin Ailey τον Σεπτέμβριο στην Αθήνα

Body-Geography

BodyGeography - Rachael McLaren, Yusha Sorzano, Constance Stamatiou

ΣΩΜΑΤΟΣ ΥΜΝΟΣ

Η αμερικάνικη χορευτική ομάδα Alvin Ailey American Dance Theater, ένα χρόνο μετά από την παράσταση που έδωσαν στο Ηρώδειο για την 50η επέτειο της ίδρυσής τους, επανέρχονται με μια σειρά 4 εμφανίσεων στην Αθήνα.

Πιο συγκεκριμένα, θα εμφανιστούν υπό την καθοδήγηση της χορογράφου Judith Jamison στο Μέγαρο Μουσικής Αθηνών από τις 24 έως τις 27  Σεπτεμβρίου. Η Αθήνα περιλαμβάνεται στην ευρωπαϊκή περιοδεία της χορευτικής ομάδας του Έλβιν Έϊλι, μαζί με την Κοπεγχάγη και το Παρίσι.

Οι Alvin Ailey ξεχωρίζουν για τον ευρωπαίο θεατή, καθώς το είδος του χορού που αντιπροσωπεύουν είναι εντελώς διαφορετικό με το πιο σοφιστικέ και περίπλοκο ευρωπαϊκό σύγχρονο χορό, αντιπαραθέτωντας έναν τύπο χορού με περισσότερη ελευθερία, με στοιχεία του street και του urban dance, ένα σύνολο έργων πιο funk, με πολλή ενθουσιασμό και μεγάλη ενέργεια.

Η πολυπολιτισμική χορευτική ομάδα, έχει εντάξει στο ρεπερτόριο της χορογραφίες παραδοσιακών , αλλά και νεότερων αφροαμερικανών χορογράφων.

Λαμπερή, πολύχρωμη, δυναμική χορευτική ομάδα, αποτελεί ζωντανό μύθο της ιστορίας του αμερικάνικου χορού.

Ο κύριος κορμός των χορογραφιών έχει όχημα τα negro spirituals και τα gospels.

Η ψυχή των χορογραφιών του τεξανού Alvin Ailey, ήταν αυτή που έδωσε την μεγάλη φήμη στην χορευτική ομάδα. Την τελευταία 20 ετία εμπλούτισαν το ρεπερτόριό τους με σύγχρονες χορογραφίες, δίνωντας νέα ώθηση στη καλλιτεχνική τους παραγωγή.

Η συμβολή του Alvin Ailey Dance Theater θεωρείται σημαντική στην ιστορία του χορού. Oρίσε νέα όρια στη φόρμα, και συνέχισε να συμβάλει στην ορχηστική τέχνη επί 51 συναπτά έτη με την ίδρυση της Σχολής Χορού Alvin Ailey, που έχει έδρα την Νέα Υόρκη (405 West 55th Street (στην 9th Avenue) στο Manhattan).

κείμενο: worldcity

Το πρόγραμμα των παραστάσεων στην Αθήνα έχει ως εξής:

(μπορείτε να πατήσετε πάνω στους τίτλους των έργων ώστε να δείτε περισσότερες λεπτομέρειες για αυτά)

Athens Concert Hall (Megaron), +30 210 72 82333

September 24, 2009 at 3:00 pm

FESTA BAROCCA SUITE OTIS REVELATIONS

September 25, 2009 at 4:00 pm

NIGHT CREATURE UNFOLD HYMN REVELATIONS

September 26, 2009 at 4:00 pm

NIGHT CREATURE UNFOLD HYMN REVELATIONS

September 26, 2009 at 7:00 pm

FESTA BAROCCA SUITE OTIS REVELATIONS

September 27, 2009 at 4:00 pm

FESTA BAROCCA SUITE OTIS REVELATIONS

September 27, 2009 at 7:00 pm

NIGHT CREATURE UNFOLD HYMN REVELATIONS


Argentina – Tango Argentino – A World United – Masters of Traditional Dance 2

La Ivolution – “A World United – Masters of Traditional Dance”

1. Georgia – the best dancers in the world
2. Argentina – dancing with the heart
 —

“Dancing with the feet is one thing.

But dancing with the heart is another”

 

tango36361a

Argentine Tango may be described as
conversation on the dance floor
or some even say “a way of life“.

I personally would describe Tango
as “the idea of dancing – not alone“.
In the following I have tried to break down what I believe
what makes Argentine Tango so special and passionate:

Concept of leading and following

The concept of leading and following is radically different from the one in any other dance.
There is virtually no pushing or pulling.
The lady follows by “feeling” the shoulders or the space between them
– essentially trying to keep them parallel and in front of her partner’s.
This requires her permanent attention (connection)
– the man needs to be her focus – otherwise she cannot follow.
Likewise, the man has to be very clear and decisive with what he is doing or is intending to do
– otherwise the lady has no chance to follow.
He also must listen and respond to the way the lady moves
– and every lady moves and feels differently.
Thus, dancing Tango is really more like a conversation
that requires the full attention of both dancers.

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Tango Music

Tango music does not follow strict rules
like e.g. Viennese waltz or Cha Cha music which have a clear repetetive pattern.
Especially the more contemporary Tango music tends to have no constant rhythmic pattern at all (e.g. Piazolla).
Thus, the music is usually very colourful full of unexpected variations and surprises.

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Rythm

Rhythm is created using “melodic” instruments rather than percussion instruments
– a bit like in most classical music.
Typical Tango instruments are the bass, cello, violin, piano, flute
and of course the soul of traditional Tango music the Bandoneon,
an accordion like instrument but with more keys and much harder to play.

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No Basic Step for the dancers – Tango Moves

Because of the nature of the music, there is no basic step for the dancers.
Beginners often learn sequences of moves for didactic purposes.
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However, 99% of all Tango moves may be separated into six categories:
cuts (saccadas), hooks (ganchos), foot sweeps (barridas),
circles (giros), ochos and walks
.

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Many movements are difficult to translate in English or other languages
so that they are better known in their original Spanish name which I put in brackets.

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Dancers Can Choose

Dancers can choose whether they move with the rhythm
or the melody or whatever they hear.
It is not rare to see one dance couple to move slowly
while another is more than twice
as fast trying to follow a faster phrase listening to the same piece of music.
The way dancers interpret the music is affected by many things:
mood, age, skills & experience, relationship and compatibility with the partner etc..

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3 sub-categories of both Tango music and dance

There are three sub-categories of both Tango music and dance:
Tango-tango, Tango-waltz and Tango-milonga.

The Tango-waltz is essentially written in 3 beats/bar –
but unlike classical waltz music it can vary speed and rhythm considerably.

Tango-milonga is a bit more march like sounding faster
whereas anything else is Tango-tango.

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Because Tango Argentino is such a universal partner dance-concept,
it is increasingly used to dance to “non-Tango” music
showing that virtually any kind of music may be interpreted
using the leading/following concept of Tango and it’s variety of movements.
Particularly classical pieces of music
but also operas or musicals can be very nice to dance to using the Tango-concept.

text by http://www.solarpassion.com/

 

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Dani ‘El Flaco’ Garcia y Silvina Valz bailan ‘Tango Negro’.

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Tango Apasionado – Sergio Villarroel & Black Tango

flavia-cacace-vincent-simone1

Pablo Veron & Sally Potter

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Flavia Cacace & Vincent Simone

jenny-ricardo-photo-by-douglas-cutt



Gustavo Naveira y Giselle Anne

Argentine Tango


La Cumparsita

 

The masked parade of endless miseries
promenades around that sick being
that soon will die of sorrow.

That’s why in its bed
cries mournfully remembering the past
that makes it suffer.


Sylvie Guillem, Eonnagata

Sylvie Guillem – Eonnagata

a strange and unique crossing-over from dream to afterlife – and back again

a strange and unique crossing-over from dream to afterlife – and back again

Eonnagata: a strange and unique crossing-over from dream to afterlife – and back again

Career diplomat, part-time soldier and amateur spy, Charles de Beaumont, Chevalier d’Éon, was familiar with both honour and defeat, with glory as well as exile. Beyond the romance of his life, what stands out is his extraordinary audacity. Éon was probably the first spy to use cross-dressing in the pursuit of his duties. This earned him a variety of enemies, including Louis XVI, who forced him to wear a dress all the time. Eventually people no longer knew whether he was a man or a woman.

The creators of Eonnagata asked the question differently. What if Charles de Beaumont was both man and woman? Midway between theatre and dance, Eonnagata pits the fan against the sword, the courtesan against the swordsman. But it also explores the embodying of one sex by the other in what is more an investigation of gender than of sexuality. The work draws on Onnagata, a Kabuki theatre technique that enables actors to represent women in a highly stylized fashion, shedding new light on the Chevalier d’Éon and revealing that his enigma is perhaps the mystery of human identity itself.

Eonnagata shedding new light on the Chevalier d’Éon and revealing that his enigma is perhaps the mystery of human identity itself.

Eonnagata shedding new light on the Chevalier d’Éon and revealing that his enigma is perhaps the mystery of human identity itself.

The nonconformism of Charles de Beaumont quickly struck a chord with the creators of Eonnagata. Sylvie Guillem is a celebrated rebel of classical ballet who converted to contemporary dance. In the last few years she has dazzled audiences in London, Tokyo, Sydney and Paris with her grace, energy, precision and humour in shows such as Push and Sacred Monsters. Robert Lepage has been pushing the limits of theatre, mixing genres and venturing into little-known territory for over twenty years, and has attracted a large, diverse and enthusiastic following. Russell Maliphant is often described as the most important British choreographer of his generation. He blends martial arts, classical dance and the most recent lighting technologies into works that breathe fluidity and power.

Sylvie Guillem is a celebrated rebel of classical ballet who converted to contemporary dance. In the last few years she has dazzled audiences in London, Tokyo, Sydney and Paris with her grace, energy, precision and humour in shows such as Push and Sacred Monsters.

Sylvie Guillem is a celebrated rebel of classical ballet who converted to contemporary dance. In the last few years she has dazzled audiences in London, Tokyo, Sydney and Paris with her grace, energy, precision and humour in shows such as Push and Sacred Monsters.

With the support of lighting designer Michael Hulls, costume designer Alexander McQueen and sound designer Jean-Sébastien Côté, Guillem, Lepage and Maliphant have created a strange and unique crossing-over from dream to afterlife – and back again.

Witness the work in progress by viewing the video clips which are made up of images of the filming of the documentary featuring Sylvie Guillem, directed by Françoise Ha Van and produced by À Droite de la Lune.

photo by Erik Labbe

for more information about “Eonnagata”

visit

La Caserne.net
sylvieguillem.com
robertlepage.com
rmcompany.co.uk
alexandermcqueen.com

Mastersvo


Sylvie Guillem vs Maya Plisetskaya in Bolero – “Crossfire” Series

Crossfire Series – 2

Sylvie Guillem vs Maya Plisetskaya

in Bolero

sylvie-bolero-athens-1

The legendary dancer  Sylvie Guillem
in a astonishing interpretation of Bolero
of Maurice Ravel and in choreography of Maurice Bejart.
Infrequent experience – incredible interpretation.
Enjoy!

Part I
June 17, 2008 – Athens

Part II
June 17, 2008 – Athens

sylvie-bolero-athens-2

plisetskaya-bolero-1970

Part I

Part II