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Posts tagged “modern dance

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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Svetlana Zakharova, Ekaterina (Katya) Kondaurova and Sylvie Guillem “In the Middle, Somewhat Elevated” – Crossfire Series

Crossfire Series – 1

Svetlana Zakharova, Ekaterina (Katya) Kondaurova and Sylvie Guillem

“In The Middle, Somewhat Elevated”.

Choreographed by Forsythe.
Music by Thom Willems

Svetlana Zakharova

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Svetlana Zakharova and Andre Merkuriev

Source: You Tube Uploaded video by user icyballerina
(http://www.youtube.com/user/icyballerina)


Svetlana Zakharova

Source: You Tube Uploaded video by user AutomaticTeapot
(http://www.youtube.com/user/AutomaticTeapot)

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Svetlana Zakharova - Image by Douglas Kirkland / Corbis

Source: You Tube Uploaded video by user 2milashka1992

(http://www.youtube.com/user/2milashka1992)

Ekaterina (Katya) Kondaurova

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The female soloist at the beginning is

Viktoria Tereshkina.

The male soloist at the end is

Mikhail Lobukhin.

The red-headed, long-legged female doing the pas de deux is

Ekaterina (Katya) Kondaurova.

Source: You Tube Uploaded video by user Chris8300

(http://www.youtube.com/user/chris8300)

Sylvie Guillem


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Sylvie Guillem

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Source: You Tube Uploaded video by user whereami77

(http://www.youtube.com/user/whereami77)


Dance With Angels 15 – Martha Graham – Марта Грэхем

“Dance With Angels” Series

Dance With Angels

– 15 –

Martha Graham / Марта Грэхем

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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 –

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“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.”

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“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

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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

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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

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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” Series part I


” Dance With Angels ” Series

part I

“Think of the magic of that foot,

comparatively small, upon which your whole weight rests.

It’s a miracle,

and the dance is a celebration of that miracle.

Martha Graham

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They are women,

they have the talent of the absolute movement of the body.

They are not simply dancers,

they are the leading dancers of the planet.

mystThey build the history of Dance,

the history of Movement. 1394539519_86b54322d41

They participate in the dreamy architecture of the body.

They write the history of body, with their bodies.

Dreamy, airy, ethereal.177442951_9f4735cd1e

They are certain times romantic and other times dynamic.

They have the magic force to wake up our senses:

Anger, distress, sorrow, joy, optimism,

expectation, harmony, rage, love…

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One would say that they are not earthy existences,

but come from the sky,

from where life originated.

And death.177757353_699c5d8ed61

The history of movement

and at extension of the human body,

is a history of life,

or more accurately,

is the History of Life,

but also the chronicle

of dream, of the impossible, of the ideal.

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Ladies and gentlemen,
but above all,
our beloved friends of “La Ivolution”,
we present to you the first part
of  the Angels of modern and classic dance.

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Enjoy, dream and fly in sky with them:
they are the Angels of Dance
and will remain together you

until the end of the journey.1217093495596_f


Constance Stamatiou: greek black perfection in Alvin Ailey Dance Company

Constance Stamatiou:

greek-american

black

perfection

in Alvin Ailey Dance Company

Glenn Allen Sims

Photo by Andrew Eccles Ailey 2008 In this photo: Glenn Allen Sims and Constance Stamatiou

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Photo by Andrew Eccles Ailey 2008