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Press Kit Season 2020/2021 6 March 2020

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Press kit Season 2020/2021 6 March 2020 PRODUCTIONS 2020/2021 PREMIERES World premiere N.N. [Creation Øyen] Dance piece by Alan Lucien Øyen Music by N.N. 4, 6, 13, 20 September, 1, 16 October, 10 November, 17, 21, 28 December 2020 Komische Oper Berlin DORNRÖSCHEN Choreography by Marcia Haydée after Marius Petipa Music by Peter I. Tschaikowsky 15, 17, 19, 23, 29 October, 4, 12 November 2020, 21, 24 May, 16, 17, 21 June 2021 Deutsche Oper Berlin DAWSON | MCGREGOR The Four Seasons Choreography by David Dawson Chroma Choreography by Wayne McGregor 3, 6, 8 December 2020, 8 January, 2, 22, 27 February, 25 March 5, 18, 24 April 2021 Deutsche Oper Berlin BALLETTABEND MATS EK A sort of… Choreography by Mats Ek N.N. 30 April, 2, 3, 8, 16, 29 May, 4, 8, 10, 18 June 2021 Staatsoper Unter den Linden REPERTOIRE SWAN LAKE Choreography by Patrice Bart after Lew Iwanow and Marius Petipa Music by Peter I. Tschaikowsky Deutsche Oper Berlin 29 August, 1, 7, 12, 18 September 2020, 5 May, 3, 11, 14 June 2021 SYM-PHONIE 2020 for Dance, Light and Orchestra Choreography by Sasha Waltz Music by Georg Friedrich Haas Staatsoper Unter den Linden 2, 11, 21, 24, 28, 30 October, 26, 27 November, 5 December 2020, 27 January 2021 THE NUTCRACKER Ballet-Féerie by Vasily Medvedev and Yuri Burlaka after Marius Petipa Music by Peter I. Tchaikovsky Deutsche Oper Berlin 15, 16, 19, 26, 30 December 2020, 1 January 2021 ONEGIN Choreography by John Cranko Music by Peter I. Tchaikovsky Staatsoper Unter den Linden 18, 23, 25, 29 December 2020, 3 January, 3, 5, 20 March, 7, 9 April 2021 EKMAN | EYAL LIB Choreography by Alexander Ekman STRONG Dance piece by Sharon Eyal Staatsoper Unter den Linden 23, 29 January, 5, 7, 24 February, 13, 18, 29, 30 March, SUNNY Dance piece by Emanuel Gat Music by Awir Leon Komische Oper Berlin 9 March, 8, 14 April, 15, 24 June 2021 GUEST PERFORMANCE TANZTHEATER WUPPERTAL PINA BAUSCH NELKEN A Piece by Pina Bausch Staatsoper Unter den Linden 20, 21, 22, 23 August 2020 LANDESJUGENDBALLETT AN DER STAATLICHEN BALLETTSCHULE BERLIN Staatsoper Unter den Linden 25 May, 6, 25 June 2021 PREVIEW SEASON 21/22 RIMNINI PROTOKOLL/ STEFAN KAEGI Premiere 4 September 2021 Komische Oper Berlin DATA AND FACTS SEASON 2020/2021 ARTISTIC DIRECTION Sasha Waltz and Johannes Öhman GENERAL DIRECTOR Jenny Mahr DEPUTY ARTISTIC DIRECTOR Dr. Christiane Theobald ENSEMBLE 92 dancers STAGES Deutsche Oper Berlin Komische Oper Berlin Staatsoper Unter den Linden PERFORMANCES 2019/2020 a total of 102 ballet performances on the three main stages of the Stiftung Oper in Berlin, comprising - 40 performances at the Deutsche Oper Berlin - 48 performances at the Staatsoper Unter den Linden - 14 performances at the Komische Oper Berlin PREMIERES N.N. [Creation Øyen] 4 September 2020 SLEEPING BEAUTY 15 October 2020 DAWSON| MCGREGOR 3 December 2020 BALLETTABEND MATS EK 30 APRIL 2021 REPERTOIRE SCHWANENSEE SYM-PHONIE 2020 DER NUSSKNACKER ONEGIN EKMAN | EYAL SUNNY OUR GUEST TANZTHEATER WUPPERTAL PINA BAUSCH LANDESJUGENDBALLETT AN DER STAATLICHEN BALLETTSCHULE BERLIN SPONSORS Verein der Freunde und Förderer des Staatsballetts Berlin MAIN SPONSOR Weberbank CONTACT Staatsballett Berlin Richard-Wagner-Straße 10 10585 Berlin Phone +49 (0)30 34 384 140 Fax + 49 (0)30 34 384 141 [email protected] www.staatsballett-berlin.de TICKET SALE ADVANCED TICKET SALES General ticket sales open on 15 April 2020. For the Friends and Sponsors of the Staatsballet Berlin, holders of the TanzTicket or the StaatsopernCard and subscribers of the Deutsche Oper Berlin, advanced ticket sales will open on 1 April 2020. STAATSBALLETT BERLIN, TICKET SERVICE Unter den Linden 7, 10117 Berlin, Germany Phone + 49 (0)30 20 60 92 630 Fax + 49 (0)30 20 35 44 83 [email protected] www.staatsballett-berlin.de BOX OFFICES STAATSOPER UNTER DEN LINDEN Unter den Linden 7, 10117 Berlin Daily 11 am to 60 minutes before the performance, on days without a performance until 7 pm DEUTSCHE OPER BERLIN Bismarckstraße 35, 10627 Berlin Mon-Sat and holidays 11 am until the start of the performance, on days without a performance until 7 pm KOMISCHE OPER BERLIN Unter den Linden 41, 10117 Berlin Mon-Sat 11 am – 7 pm, Sun and holidays 1 pm until 4 pm STAATSBALLETT BERLIN PORTRAIT The Staatsballett Berlin was founded in 2004 as a result of the reunification of the former ballet ensembles of Berlin’s three opera houses - the Deutsche Oper Berlin, the Komische Oper Berlin and the Staatsoper Unter den Linden. The consolidation made the Staatsballett the biggest classically trained company in Germany with 92 dancers. Performance venues are the stages of the Deutsche Oper Berlin, the Komische Oper Berlin and the Staatsoper Unter den Linden. In addition to these regular locations, the company also takes up opportunities to dance at other venues in the city. Since 2011, the Staatsballett Berlin has been based at the Deutsche Oper Berlin. The opera house’s former paint workshops have now become modern ballet studios that offer excellent working conditions. Under the artistic direction of its founding director, Vladimir Malakhov, the company has become a successful and acknowledged part of Berlin’s culture. After 10 years of directing the company, Vladimir Malakhov passed the direction to Nacho Duato who broadened the repertoire with classical and contemporary choreographies while focusing on neoclassical works. With the 2018/2019 season, Johannes Öhman took over as Director of the Staatsballett Berlin and was joined by Sasha Waltz from 2019/2020 onwards in a Co-directorship. The focus of their artistic curation is to introduce and create new original works for the company as well as display the rich heritage of dance from its beginnings to the present day. SASHA WALTZ ARTISTIC DIRECTOR OF THE STAATSBALLETT BERLIN Sasha Waltz is a choreographer, dancer and director. After her first studies at the School of New Dance Development in Amsterdam, she joined the postmodern oriented New York City dance scene that worked in close exchange with the other arts. In 1986 and 1987 she danced in the New York based companies of Pooh Kaye, Yoshiko Chumo & School of Hard Knocks and Lisa Kraus & Dancers. Driven by the spirit of that scene, she developed the improvisational format DIALOGE in the early 1990s in Berlin. She chose the young German capital as the center of her activities where she practiced new choreographic approaches in self-developed infrastructures. Together with Jochen Sandig she founded the dance company Sasha Waltz & Guests in 1993 and in 1996 the Sophiensaele as a venue for dance and more, nowadays a centre of the independent dance and theatre scene not only in Germany. From 2000 until 2005 she was one of the directors of the Schaubühne at Lehniner Platz. During this first decade in Berlin, she created internationally renown and influencial dance pieces such as the trilogies TRAVELOGUE and KÖRPER as well as the immersive dance installation INSIDEOUT. In the following years she applied the language and strategies of contemporary dance to vitalize and explore historical and new operas and ballets. With DIDO & AENEAS (2005), MEDEA (2007) and MATSUKAZE (2011) she realized three pieces about women and at the same time established the genre of the choreographic opera. In 2007 she directed ROMÉO ET JULIETTE, interpreting the dramatic symphony of Hector Berlioz, for the Opéra National de Paris. From this followed SACRE in 2013 set to the music of Igor Strawinsky commissioned by the Mariinsky Theatre in St. Petersburg, and in 2014 TANNHÄUSER at the Staatsoper Unter den Linden conducted by Daniel Barenboim. Simultaneously Sasha Waltz has been pursuing the sharing and teaching of dance knowledge and promoting dance as a medium of social and sociopolitical communication. As part of this endeavor, she founded the Berlin based Kindertanzcompany (Children's Dance Company) in 2007 and, following an invitation from the Berlin Philharmonic Orchestra, developed a choreography with over 100 pupils to dance Schtschedrin's CARMEN-SUITE. In 2016 she founded the event format ZUHÖREN with which she opened a »third space« for art and politics. She expanded the DIALOGE-concept to incorporate danced responses to architecture wherein the audience is invited to act as an equal part of the choreographic happening. Examples of this are DIALOGE 09 performed in the still vacant interior of the Neues Museum in Berlin after the renovation by David Chipperfield (2009) and the choreographic installation FIGURE HUMAINE for the inauguration of the Hamburg Elbphilharmonie (2017). In her present choreographic work, Waltz is focusing on the intensification of collaborative processes, such as the synchronic development of choreography and music. In collaboration with Soundwalk Collective and the costume designer Iris van Herpen (among others), she created the choreography KREATUR (2017) followed by EXODUS (August 2018), both premiered at Radialsystem V in Berlin. In 2019 she choreographed her latest work »rauschen« for the Volksbühne Berlin. In parallel with the artistic direction of her dance company for which she creates pieces on a regular basis, Sasha Waltz is Artistic Director of the Staatsballett Berlin since 2019/2020 together with co-director Johannes Öhman and will present her creation SYM-PHONIE 2020 in April 2020. For her special services Sasha Waltz was granted the German Federal Cross of Merit. Since 2013 she is a member of the Academy of Arts Berlin. JOHANNES ÖHMAN ARTISTIC DIRECTOR OF THE STAATSBALLETT BERLIN Born in Stockholm, Sweden, Sven Johannes Öhman studied at the Kungliga Svenska Balettskolan (Royal Swedish Ballet School) in Stockholm and in Paris. In 1987 he was hired by the Royal Swedish Ballet and appointed soloist in 1991. Between 1986 and 1988 he also worked as a soloist at the Basel Ballet in Switzerland.
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    Utmärkelsetecken på militära uniformer Decorations on Swedish military uniforms Christian Braunsteinm MBE Överstelöjtnanten vid Livgardets dragoner (K1) Christian Braunstein, arbetar sedan 1997 som 1.försvarsantikvarie vid Statens försvarshisto- riska museer i Stockholm. Under åren 2008- 2011 var han däravdelningschef och chef för kansliet för det 2008 bildade militära museinät- verket Sveriges militärhistoriska arv. 1991-1996 var han Försvarsmaktens traditionsofficer och 19972006 sekreterare i Försvarets traditions- nämnd. Braunstein har tidigare skrivit ett tiotal böcker om Försvarsmaktens förband, traditio- ner och ceremonier. Lieutenant-Colonel Christian Braunstein MBE, (rtd) Royal Lifeguard Dragoons, is since 1997 employed as 1.war antiquarian by the Swe- dish National Museums of Military History in Stockholm. 2008-2011 he was supervising the new network of military museums, Swedish Military Heritage which started in 2008. 1991- 1996 he had the position as responsible for the traditions of the Armed Forces and 1997-2006 as permanent secretary of the Board of Military Traditions. Braunstein has earlier written seve- ral books of military units, traditions and cere- monies. Utmärkelsetecken på militära uniformer Decorations on Swedish military uniforms Christian Braunsteinm MBE Statens Försvarshistoria Museer National Museums of Military History Skrift nr 12 Omslag: Kapten Jonas Bessing, Livgardets dragoner, erhåller Försvarsmaktens belöningsmedalj för internationella insatser av överbefälhavaren, general Owe Wiktorin. - Captain Jonas Bessing, Royal Lifeguards dragoons, is awarded the Swedish Armed Forces´ international medal of merit for distinguished service in Somalia by the Supreme Commander, general Owe Wiktorin. Foto/photo Sven-Åke Haglund © Statens försvarshistoriska museer och författaren/ The National Museums of Military History and the author. ISBN 978-91-976220-2-8 Ansvarig utgivare: Christina von Arbin.
  • A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance

    A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance

    Where are the female choreographers? A study on the gender imbalance among professional choreographers working in the fields of classical ballet and contemporary dance. Jessica Teague August 2016 This Dissertation is submitted to City University as part of the requirements for the award of MA Culture, Policy and Management 1 Abstract The dissertation investigates the lack of women working as professional choreographers in both the UK and the wider international dance sector. Although dance as an art form within western cultures is often perceived as ‘the art of women,’ it is predominately men who are conceptualising the works and choreographing the movement. This study focuses on understanding the phenomenon that leads female choreographers to be less likely to produce works for leading dance companies and venues than their male counterparts. The research investigates the current scope of the gender imbalance in the professional choreographic field, the reasons for the imbalance and provides theories as to why the imbalance is more pronounced in the classical ballet sector compared to the contemporary dance field. The research draws together experiences and statistical evidence from two significant branches of the artistic process; the choreographers involved in creating dance and the Gatekeepers and organisations that commission them. Key issues surrounding the problem are identified and assessed through qualitative data drawn from interviews with nine professional female choreographers. A statistical analysis of the repertoire choices of 32 leading international dance companies quantifies and compares the severity of the gender imbalance at the highest professional level. The data indicates that the scope of the phenomenon affects not only the UK but also the majority of the Western world.