DOCSLIB.ORG

BALLET DU THÉÂTRE BOLCHOI Directeur Général Du Théâtre Bolchoï - Vladimir Urin Directeur Du Ballet Du Théâtre Bolchoï - Sergei Filin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BALLET DU THÉÂTRE BOLCHOI Directeur Général Du Théâtre Bolchoï - Vladimir Urin Directeur Du Ballet Du Théâtre Bolchoï - Sergei Filin 1 2 DÉCEMBRE La programmation 2014-2015 illustre avec force cette idée, chère aux Ballets de Monte-Carlo et à son Directeur Jean-Christophe Maillot, que tous les styles de danse peuvent se côtoyer. Cette année encore, la Compagnie des Ballets de Monte-Carlo, le Monaco Dance Forum et l’Académie Princesse Grace œuvreront de concert pour faire de la Principauté un lieu dédié à l’art chorégraphique et un espace de liberté unique en son genre. La saison proposera une palette de couleurs la plus large possible. Cette année les touches de couleurs s’appelleront Sidi Larbi Cherkaoui, Emanuel Gat, Maguy Marin, Le Bolchoï, Le Béjart Ballet Lausanne, le Tokyo Ballet, parmi tant d’autres… Après une mise en bouche offerte par Les Imprévus fin octobre, le mois de décembre 2014 sera particulièrement généreux avec un Monaco Dance Forum qui fera converger vers le Rocher une pléiade de compagnies et de chorégraphes internationaux. Cette fin d’année verra d’abord la présentation d’une création poignante de Sidi Larbi Cherkaoui et de Yabin Wang où se rencontrent Orient et Occident. Le rêve se prolongera avec un spectacle en apesanteur de Mélissa Von Vépy, évoluant dans les airs telle une marionnette suspendue à des fils. Maguy Marin reviendra sur la scène du Grimaldi Forum avec une création qui ne manquera pas de nous transformer en nous interrogeant sur le rythme de la vie et ses possibles devenirs. La Compagnie La Veronal nous entrainera ensuite au cœur de la Renaissance toscane pour un ballet dense aux accents pasoliniens sur le corps et la matière humaine. Ce sera alors le moment pour ceux qui souhaitent approfondir une réflexion sur les rapports entre danse et arts plastiques de participer au colloque Les utopies du musée, organisé avec l’ESAP Monaco. Les amateurs des salles obscures pourront quant à eux assister à la projection d’un film sur Serge Lifar proposé par Les Archives Audiovisuelles de Monaco. Emanuel Gat nous offrira ensuite une création pleine d’une énergie et d’une poésie à fleur de peau, où la chorégraphie développe le rapport au son et à la voix grâce à des micros qui enregistrent les danseurs en direct. Événement attendu et incontournable de cette fin d’année, le mythique Ballet du Théâtre Bolchoï interprètera au Grimaldi Forum La Mégère Apprivoisée, chorégraphiée par Jean-Christophe Maillot. Ovationnée lors de sa première en juillet 2014 à Moscou, cette création constitue un événement inédit dans l’histoire de la légendaire compagnie russe : c’est la première fois que le Bolchoï invite un chorégraphe étranger à créer pour ses danseurs un ballet narratif d’une soirée entière. La compagnie mythique sera accompagnée par l’Orchestre Philharmonique de Monte-Carlo, dirigé par le talentueux Igor Dronov. Après ce final prestigieux qui clôturera le Monaco Dance Forum, ce sera à la Compagnie des Ballets de Monte- Carlo d’offrir au public un spectacle grand format : Faust de Jean-Christophe Maillot, un ballet hypnotique à l’efficacité visuelle redoutable qui happe le spectateur et fait penser que Méphistophélès a secrètement participé à son élaboration. L’orchestre Philharmonique et le Chœur de l’Opéra de Monte-Carlo seront aussi de la partie pour mieux nous tenter encore. 3 DECEMBER The 2014-2015 program is a strong illustration of the idea, so cherished by the Ballets de Monte-Carlo and its Director Jean-Christophe Maillot, that there is a place for all styles of dance. Once again this year the Ballets de Monte-Carlo Company, the Monaco Dance Forum and the Princess Grace Academy will work together to make the Principality a place dedicated to the choreographic art and a unique type of free space. The season will offer the widest possible palette, featuring strokes of colour called Sidi Larbi Cherkaoui, Emanuel Gat, Maguy Marin, the Bolshoi, the Béjart Ballet Lausanne and the Tokyo Ballet, along with many others... After an appetizer from Les Imprévus in late October, December 2014 will be particularly generous with a Monaco Dance Forum that sees a whole host of international companies and choreographers converge on the Rock. The first presentation of this end-of-year season will be a poignant creation by Sidi Larbi Cherkaoui and Yabin Wang where East meets West. The dream continues with a show in weightlessness by Mélissa Von Vépy, performing in the air like a puppet on a string. Maguy Marin returns to the stage of the Grimaldi Forum with a creation that is sure to transform us by questioning the pace of our life and its possible futures. The La Veronal Company then takes us into the heart of the Tuscan Renaissance for a ballet heavy with Pasolinian overtones about the body and the human subject. This will be the time when those seeking a deeper reflection on the relationship between dance and the visual arts can participate in the symposium Les Utopies du Musée, organised in partnership with the ESAP Monaco. Cinema fans can attend the screening of a film about Serge Lifar by the Audiovisual Archives of Monaco. Emanuel Gat then presents his energetic creation full of emotionally gripping poetry where the choreography develops the relationship between sound and voice using microphones that record the dancers as they dance. The most eagerly anticipated event of the season, the legendary Bolshoi Ballet will perform Jean-Christophe Maillot’s The Taming of the Shrew at the Grimaldi Forum. Given a standing ovation at its premier in July 2014 in Moscow, this creation is a unique event in the history of the legendary Russian company. It is the first time that the Bolshoi has invited a foreign choreographer to create a narrative ballet for its dancers for an entire evening. The legendary company will be accompanied by the Monte-Carlo Philharmonic Orchestra conducted by the talented Igor Dronov. After this prestigious finale bringing the Monaco Dance Forum to a close, the Ballets de Monte-Carlo Company will perform a large-scale show. Faust by Jean-Christophe Maillot is a hypnotic ballet with an impressive visual effectiveness which grabs the audience almost making it think that Mephistopheles was secretly involved in its development. The Monte-Carlo Philharmonic Orchestra and the Choir of the Monte-Carlo Opera will also be part of this performance, increasing the temptation. 4 SOMMAIRE 13. 14. DÉCEMBRE 2014 SIDI LARBI CHERKAOUI & YABIN WANG « 生长 GENESIS » - CRÉATION Salle Garnier de l’Opéra de Monte-Carlo | p.6 15 DÉCEMBRE 2014 MÉLISSA VON VÉPY « VIELLEICHT » Théâtre des Variétés | p.8 16 DÉCEMBRE 2014 MAGUY MARIN « BIT » - CRÉATION Grimaldi Forum | Salle Prince Pierre | p.10 17 DÉCEMBRE 2014 Compagnie LA VERONAL « SIENA » Salle Garnier de l’Opéra de Monte-Carlo | p.12 17. 18. DÉCEMBRE 2014 COLLOQUE « LES UTOPIES DU MUSÉE, pour une mémoire dynamique » Colloque réalisé en collaboration avec le Pavillon Bosio, ESAP Monaco Théâtre des Variétés | p.14 18 DÉCEMBRE 2014 EMANUEL GAT « PLAGE ROMANTIQUE » - CRÉATION Grimaldi Forum | Salle Prince Pierre | p.16 19.20. 21. DÉCEMBRE 2014 LE BALLET DU THÉÂTRE BOLCHOÏ « LA MÉGÈRE APPRIVOISÉE » - Chorégraphie Jean-Christophe Maillot - CRÉATION Grimaldi Forum | Salle des Princes | p.18 21 DÉCEMBRE 2014 PROJECTION « SERGE LIFAR MUSAGÈTE », Film de Dominique Delouche. Projection réalisée en collaboration avec Les Archives Audiovisuelles de Monaco Grimaldi Forum | Salle Camille Blanc | p.20 28. 29. 30. 31. DÉCEMBRE 2014 LA COMPAGNIE DES BALLETS DE MONTE-CARLO « FAUST » - Chorégraphie Jean-Christophe Maillot Grimaldi Forum | Salle des Princes | p.22 OCTOBRE 2014 > JUIN 2015 LA COMPAGNIE DES BALLETS DE MONTE-CARLO EN TOURNÉE BONN, MADRID, DUBAÏ, TOKYO, SHANGAÏ, PÉKIN, LONDRES, WOLFSBURG, PARIS VERSAILLES... | p.24 LES BALLETS DE MONTE-CARLO «De vous à nous» Workshops et Master classes Danse au Musée Les Partenaires La Carte Ballets de Monte-Carlo| p.27 INFORMATIONS PRATIQUES-BIOGRAPHIES| p.34-35 5 6 > 13 DÉCEMBRE | 20h00 SALLE GARNIER OPÉRA DE MONTE-CARLO > 14 DÉCEMBRE | 16h00 SIDI LARBI CHERKAOUI & YABIN WANG création 生长GENESIS Des personnages en blouse blanche, un masque dans le filmLe Secret des poignards volants). Pour Sidi chirurgical devant la bouche, observent d’autres Larbi Cherkaoui, "C’est un spectacle sur la croissance, personnes et leur font subir des tests. Ils évoluent tant dans le monde en général que des points de parmi des cages de verre, telles de gigantesques vue personnel et artistique." Au son de musiques éprouvettes. 生长genesis (la genèse) traite de l’origine interprétées en public (aux origines africaines, de toutes choses. Nous naissons.Nous mourons. Entre indiennes, chinoises et polonaises), le chorégraphe ces deux moments, nous sommes sans cesse mis à transpose ses pensées philosophiques en de superbes l’épreuve et nous nous éloignons toujours davantage séquences gestuelles où se rencontrent l’Orient et de la nature. l’Occident, la vie et la mort. Sidi Larbi Cherkaoui s’interroge sur notre origine et notre destination avec la danseuse chinoise Yabin Wang (connue entre autre pour une séquence chorégraphique spectaculaire parmi des tambours Figures in white coats wearing masks over their the spectacular choreographic sequence with the mouths, observing and conducting tests on other drums in the film The House of Flying Daggers). For people. They move among glass cages, like gigantic Sidi Larbi Cherkaoui, «This is a show about growth, test tubes. both in the world in general and from a personal 生长genesis is a show about the origin of everything. and artistic perspective.» To the sound of live music We are born. We die. Between these two moments, (of African, Indian, Chinese and Polish origin), the we are constantly tested and move increasingly choreographer transposes his philosophical thoughts further from nature. Sidi Larbi Cherkaoui explores into superb gestural sequences where East meets our origins and our destination with the Chinese West, life meets death.
Load more

Recommended publications
  • Vi Saint Petersburg International New Music Festival Artistic Director: Mehdi Hosseini
    VI SAINT PETERSBURG INTERNATIONAL NEW MUSIC FESTIVAL ARTISTIC DIRECTOR: MEHDI HOSSEINI 21 — 25 MAY, 2019 facebook.com/remusik.org vk.com/remusikorg youtube.com/user/remusikorg twitter.com/remusikorg instagram.com/remusik_org SPONSORS & PARTNERS GENERAL PARTNERS 2019 INTERSECTIO A POIN OF POIN A The Organizing Committee would like to express its thanks and appreciation for the support and assistance provided by the following people: Eltje Aderhold, Karina Abramyan, Anna Arutyunova, Vladimir Begletsov, Alexander Beglov, Sylvie Bermann, Natalia Braginskaya, Denis Bystrov, Olga Chukova, Evgeniya Diamantidi, Valery Fokin, Valery Gergiev, Regina Glazunova, Andri Hardmeier, Alain Helou, Svetlana Ibatullina, Maria Karmanovskaya, Natalia Kopich, Roger Kull, Serguei Loukine, Anastasia Makarenko, Alice Meves, Jan Mierzwa, Tatiana Orlova, Ekaterina Puzankova, Yves Rossier, Tobias Roth Fhal, Olga Shevchuk, Yulia Starovoitova, Konstantin Sukhenko, Anton Tanonov, Hans Timbremont, Lyudmila Titova, Alexei Vasiliev, Alexander Voronko, Eva Zulkovska. 1 Mariinsky Theatre Concert Hall 4 Masterskaya M. K. Anikushina FESTIVAL CALENDAR Dekabristov St., 37 Vyazemsky Ln., 8 mariinsky.ru vk.com/sculptorstudio 2 New Stage of the Alexandrinsky Theatre 5 “Lumiere Hall” creative space TUESDAY / 21.05 19:00 Mariinsky Theatre Concert Hall Fontanka River Embankment 49, Lit A Obvodnogo Kanala emb., 74А ensemble für neue musik zürich (Switzerland) alexandrinsky.ru lumierehall.ru 3 The N. A. Rimsky-Korsakov 6 The Concert Hall “Jaani Kirik” Saint Petersburg State Conservatory Dekabristov St., 54A Glinka St., 2, Lit A jaanikirik.ru WEDNESDAY / 22.05 13:30 The N. A. Rimsky-Korsakov conservatory.ru Saint Petersburg State Conservatory Composer meet-and-greet: Katharina Rosenberger (Switzerland) 16:00 Lumiere Hall Marcus Weiss, Saxophone (Switzerland) Ensemble for New Music Tallinn (Estonia) 20:00 New Stage of the Alexandrinsky Theatre Around the Corner (Spain, Switzerland) 4 Vyazemsky Ln.
    [Show full text]
  • Gp 3.Qxt 7/14/17 2:07 PM Page 1 Page 4
    07-26 Taming Shrew v9.qxp_Gp 3.qxt 7/14/17 2:07 PM Page 1 Page 4 Lincoln Center Festival lead support is provided by American Express July 26–30 David H. Koch Theater Bolshoi Ballet Ballet Director Makhar Vaziev The Taming of the Shrew Ballet in two acts Choreography Jean-Christophe Maillot Music Dmitri Shostakovich Set Design Ernest Pignon-Ernest Costume Design Augustin Maillot Lighting and Video Projection Design Dominique Drillot New York City Ballet Orchestra Conductor Igor Dronov Approximate running time: 1 hours and 55 minutes, with one intermission This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Made possible in part by The Harkness Foundation for Dance. Endowment support for the Lincoln Center Festival 2017 presentation of The Taming of the Shrew is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The Bolshoi Theatre gratefully acknowledges the support of its General Sponsor, Credit Suisse. 07-26 Taming Shrew.qxp_Gp 3.qxt 7/18/17 12:10 PM Page 2 LINCOLN CENTER FESTIVAL 2017 THE TAMING OF THE SHREW Wednesday, July 26, 2017, at 7:30 p.m. The Taming of the Shrew Katharina: Ekaterina Krysanova Petruchio: Vladislav Lantratov Bianca: Olga Smirnova Lucentio: Semyon Chudin Hortensio: Igor Tsvirko Gremio: Vyacheslav Lopatin The Widow: Yulia Grebenshchikova Baptista: Artemy Belyakov The Housekeeper: Yanina Parienko Grumio: Georgy Gusev MAIDSERVANTS Ana Turazashvili, Daria Bochkova, Anastasia Gubanova, Victoria Litvinova, Angelina Karpova, Daria Khokhlova SERVANTS Alexei Matrakhov, Dmitry Dorokhov, Batyr Annadurdyev, Dmitri Zhuk, Maxim Surov, Anton Savichev There will be one intermission.
    [Show full text]
  • Acting Relations, Mapping Positions Part I: the Individual HOW to GATHER Acting Relations, Mapping Positions
    Kunsthalle Wien Acting Relations, Mapping Positions Part I: The Individual HOW TO GATHER Acting Relations, Mapping Positions 3 21 Bart De Baere, Defne Ayas, Keren Cytter — Nicolaus Schafhausen — Note From Bed Background 23 9 Hanne Lippard — Marie Egger — Here’s it Editorial 25 Sergey Bratkov — Predictions on the Moon 33 Liam Gillick — Letters from Moscow 43 Li Mu — The Labourer 63 Ho Tzu-Nyen and Lee Weng-Choy — Curation is Also a Form of Transportation 77 Lee Weng-Choy — Three Degrees of Intimacy 81 Meggy Rustamova — Waiting for the Secret (Script) 85 Johanna van Overmeir — Janus 88 Janus Faced Freedom Marina Simakova Part II: In Relation Part III: Political Gestures HOW TO GATHER Acting Relations, Mapping Positions 89 119 176 225 Peter Wächtler — Mián Mián and Konstantin Zvezdochotov — Anna Jermolaewa and Leather Man / Woman of Nicolaus Schafhausen — About Ezgin Altinses Vanessa Joan Müller — the Bistro Talkshow Political Extras 180 104 131 Inventing Ritual 237 Jimmie Durham — Communicative Failures Leon Kahane — A Stone and Defeats 186 Figures of Authority Andrey Shental Gabriel Lester — 108 MurMure 243 Donna Kukama — 132 Nástio Mosquito — The Cemetery for Bad Honoré δ’O and 195 SOUTH Behaviours Fabrice Hyber — Honoré δ’O — Telepathic Protocol The Ten Commandments 246 114 Saâdane Afif — On Intimacy 137 215 Play Opposite Maria Kotlyachkova, Nadia Qiu Zhijie — Vaast Colson — Gorokhova Map of the Third World Ten Side Notes as Warm Up 250 Rana Hamadeh — 140 219 Performance Script Augustas Serapinas — Andrey Kuzkin — Conversation Behind
    [Show full text]
  • Research News
    MAY 2011 Research News DEPARTMENT OF MUSIC CENTRE FOR CONTEMPORARY MUSIC CULTURE CENTRE FOR RUSSIAN MUSIC ELECTRONIC MUSIC STUDIOS AFGHAN MUSIC UNIT UNIT FOR SOUND PRACTICE RESEARCH POPULAR MUSIC RESEARCH UNIT image: Cardew ‘Treatise’ © Hinrichsen/Peters London FROM THE DIRECTOR OF RESEARCH In past issues of Research News I have referred Evaluation will be conducted through a to the Research Excellence Framework (REF) panel structure, and for the first REF the used to audit and evaluate university research previous RAE panel structure has been outputs, grading departments and dis- rationalized. Music will be submitted to a ciplinary areas according to a scale that will panel, and then within this to a sub-panel. determine the allocation of research funding The main panel will oversee the operations of (which will be concentrated in ‘research- the sub-panels, ensuring that criteria are being intensive institutions’). In the Research applied fairly and consistently across different Assessment Exercise 2008 the College was sub-panels. The main panel will then co- ranked at 34. The College’s aim is to be placed ordinate and become involved in the within the top 30 in the REF. Hence, the REF production of the final report. The main panel has an economic significance, in terms of for the Music Department is Panel D, chaired College and Depart-mental income, and a by Professor Bruce Brown, Professor of symbolic value, in terms of prestige and Design at the University of Brighton. The full ranking against other departments and constitution of the panel can be found at institutions. Since the last edition of Research www.hefce.ac.uk/research/ref/panels.
    [Show full text]
  • MOSCOW FORUM X Festival for Contemporary Music
    MOSCOW FORUM X Festival for Contemporary Music 1. TEN STEPS OF THE “FORUM” The beginning of the nineties […] A time when everything was possible. Some people opened up businesses, some people went into the government, whereas some people deviated from their professions. There was a mass exodus of composers to the West, comparable only to a similar exodus during the post-revolutionary years in Russia or to the situation in Germany during the 1930s. Here is an incomplete list of only Moscow- based composers who have left the country during that period: Alfred Schnittke, Sophia Gubaidulina, Vassily Lobanov and Alexander Raskatov moved to Germany, Elena Firsova, Dmitri Smirnov and Vladislav Shoot ended up in England, Leonid Hrabovsky moved to America and Nikolai Korndorf – to Canada, while Edison Denisov was compelled to relocate to France for medical treatment after a car accident. Following them, many younger composers, not being greatly on demand in their native land, go away in search for success to other countries more suitable for their professions. “A whole musical culture has left Russia” – this is how prof. Yuri Kholopov characterized the situation in one of the musicological conferences. Amid this cultural debris politicians were searching for a new national idea, economists were seeking a new life-saving economic model, while the average people in the street were scrambling together the means for a basic livelihood. “The tongue-less street is squirming – it has nothing by means it could scream of converse” – these lines by Mayakovsky had acquired a similar topicality in Russia at the end of the previous century as they had during the revolutionary years.
    [Show full text]
  • Johann Sebastian Bach (1685 – 1750) T T : 6 3
    SMC CD 0239 DDD/STEREO Johann Sebastian Bach (1685 – 1750) T T : 6 3 . 0 6 Ad Wammes (b. 1953) 1 Chorale “Jesus bleibet meine Freude” 12 “Twilight” for Harp and Organ (2016) 6.46 from the Cantata No. 147 “Herz und Mund und Tat und Leben”, BWV 147 3.01 John Thomas (1826 – 1913) & Julius Benedict (1804 – 1885) after transcription for Piano by Myra Hess 13 Duet for Harp and Piano on subjects from Gounod's “Faust” 9.13 Marcel Tournier (1879 – 1951) Jacques Offenbach (1819 – 1880) Four Preludes for Harp, op. 16 transcription for Harp and Organ by Olesya Kravchenko and Nadya Sergeeva 14 Barcarolle from the opera “Les contes d'Hoffmann” 2.33 transcription for Harp and Organ by Andrea Borgatti Schirinzi 2 1. Tranquille 1.48 3 2. Pas trop vite 1.19 4 3. Lent 2.07 Olesya Kravchenko, organ 5 4. Allegretto 2.02 Nadya Sergeeva, harp (–1 5 , 9 –)14 Jesus Guridi (1886 – 1961) Triptych of the Good Shepherd for Organ solo (1953) Live at Small Hall of the Moscow Tchaikovsky conservatory 6 1. “The Flock” 3.41 January 26, 2018 7 2. “The Lost Sheep” 4.32 8 3. “The Good Shepherd” 6.04 Isaac Albeniz (1860 – 1909) Sound Director: Svetlana Spasskaya Mastering: Svetlana Spasskaya From Suite Espa ola, op. 47: Engineer: Alexey Meschanov transcription for ñHarp and Organ by Olesya Kravchenko and Nadya Sergeeva Cover Illustration: Vladimir Kush 9 No. 1. Granada – Serenata 5.16 Design: Maxim Kompaneets 10 No. 8. Cuba – Capricho 4.35 Translation: Maria Lastochkina Cesar Franck (1822 – 1890 ) Executive producer: Eugene Platonov 11 Pr lude, Fugue et Variation in B minor, op.
    [Show full text]
  • Doing Agricultural Business in Ukraine: Legal Aspects 2016
    DOING AGRICULTURAL BUSINESS IN UKRAINE: LEGAL ASPECTS 2016 INTRODUCTION Agriculture is one of the most attractive sec- agriculture (including in the areas of veteri- tors of the Ukrainian economy. According to nary, agro-chemicals, livestock, food products, the Ministry of Agrarian Policy and Food of fisheries, use of natural resources), powers Ukraine, agriculture provides 14% of the total of certain state authorities were limited, risks GDP of Ukraine. Exports of agricultural sector of corruption were reduced, simplification of in 2015 amounted to USD 14.6 billion, repre- registration procedures for water use, as well senting the unprecedented 38.2% of Ukraine's as turnover of fertilizers and plant protection total exports. Last year the agricultural sector products were implemented, etc. attracted over one billion USD of investment. There are over 3 million people employed in ag- In this brochure, we provide an overview of the ricultural industry, which constitutes more than legal regulations applicable to agribusiness, 17% of all employed persons in Ukraine. including legislative framework for sale and purchase and lease of agricultural land, various Given the importance of this sector to the state, aspects of employment relations and taxation there were significant changes in legislation regime, etc. Our publication will be helpful for regulating economic activity in the agricultural potential agriculture investors, agriculture-ori- industry in 2015. The primary objective of these ented producing and processing enterprises changes was to simplify doing business in the and other persons interested in the Ukrainian agricultural sector. agriculture sector. In particular, more than twenty licensing pro- cedures were cancelled and some other man- Truly yours, datory licenses and permits were revised in DLF attorneys-at-law February 2016 DLF attorneys-at-law Torus Business Centre | 17 d Hlybochytska Street | 04050 Kyiv, Ukraine | www.DLF.ua | [email protected] | T +380 44 384 24 54 TABLE OF CONTENTS 1.
    [Show full text]
  • These Everyday Humiliations Violence Against Lesbians, Bisexual Women, and Transgender Men in Kyrgyzstan
    These Everyday Humiliations Violence Against Lesbians, Bisexual Women, and Transgender Men in Kyrgyzstan Copyright © 2008 Human Rights Watch All rights reserved. Printed in the United States of America ISBN: 1-56432-381-1 Cover design by Rafael Jimenez Human Rights Watch 350 Fifth Avenue, 34th floor New York, NY 10118-3299 USA Tel: +1 212 290 4700, Fax: +1 212 736 1300 [email protected] Poststraße 4-5 10178 Berlin, Germany Tel: +49 30 2593 06-10, Fax: +49 30 2593 0629 [email protected] Avenue des Gaulois, 7 1040 Brussels, Belgium Tel: + 32 (2) 732 2009, Fax: + 32 (2) 732 0471 [email protected] 64-66 Rue de Lausanne 1202 Geneva, Switzerland Tel: +41 22 738 0481, Fax: +41 22 738 1791 [email protected] 2-12 Pentonville Road, 2nd Floor London N1 9HF, UK Tel: +44 20 7713 1995, Fax: +44 20 7713 1800 [email protected] 27 Rue de Lisbonne 75008 Paris, France Tel: +33 (1)43 59 55 35, Fax: +33 (1) 43 59 55 22 [email protected] 1630 Connecticut Avenue, N.W., Suite 500 Washington, DC 20009 USA Tel: +1 202 612 4321, Fax: +1 202 612 4333 [email protected] Web Site Address: http://www.hrw.org October 2008 1-56432-381-1 These Everyday Humiliations Violence Against Lesbians, Bisexual Women, and Transgender Men in Kyrgyzstan I. Introduction: Struggling for Recognition, Seeking Safety...................................... 1 Methodology...................................................................................................... 6 II. Domestic Violence, Rape, and Harassment.......................................................... 8 Domestic Violence and Abuse............................................................................ 8 Punitive and “Curative” Rape ............................................................................ 15 Harassment in Public ........................................................................................ 17 III. Official Responses: Old Mistrust, Ongoing Harassment ....................................19 IV.
    [Show full text]
  • Photographers Index - 507
    Photographers index - 507 PHOTOGRAPHERS INDEX Abbas Alasadi (Iraq) . 24 Alina Mur (Latvia, Riga) . 427 Aryana Golchin (Iran, Isfahan) . 184 Dikky Oesin (Indonesia, Tangerang) . 222 Abdul Gapur Dayak (Indonesia) . 217 Alina Utkina (Russia, Moscow) . 399 Asamanj Maiti (India, Chinsurah) . 229 Dima Brave (Belarus, Minsk) . 290 Abdul Hameed (Sri Lanka, Colombo) . 433 Ali Nejatbakhsh (Iran, Esfahan) . .33 432 Ashraful Islam Shimul (Bangladesh, Pabna) . 448 449 Dimpy Bhalotia (India, Mumbai) . 15 231 Abdullah Hil Kafi (Bangladesh, Dhaka) . 229 Alireza Jahangiri Manesh (Iran, Tehran) . 230 Asif Mahmud Shuvro (Bangladesh, Dhaka) . 233 Dina Molokoma (Ukraine, Herson) . 386 Abhinav Chitransh (India, Varanasi) . 242 Alireza Khazaei (Iran, Nowshahr) . 51 Asya Molochkova (Russia, Novosibirsk) . 375 Dineeva Anna (Russia, Orenburg) . 257 Achintya Adhikari (India, Kolkata) . 219 Alireza Sahebi (Iran, Tehran) . 380 A . Tamboly (Germany, Berlin) . 51 Dipak Kumar Dey (India, Kolkata) . 16 Adil Kuandykov (Kazakhstan, Almaty) . 93 Alisa Avci (Turkey, Istanbul) . 426 Aung Ya (Myanmar, Yangon) . 96 Dipankar Paul (India, Kolkata) . 461 Aeromast (Ukraine, Vishnevoe) . 192 194 Alisa Chepurina (Russia, Ekaterinburg) . 236 Avanesova Inga (Armenia, Yerevan) . 347 Dipesh Shrestha (Nepal, Kathmandu) . 437 Afif Allahma Farabi (Bangladesh, Dhaka) . 230 Alla Korg (Russia, Moscow) . 491 Aws Zuhair (Malaysia, Kajang) . 336 342 Djeirana Sauleac (Moldova, Kishinev) . 132 Afshin Azarian (Iran, Esfahan) . 72 Alla Sokolova (France, Antibes) . 10 433 445 Ayala Fishaimer (Israel, Gane Tal) . 149 Dmitri Rogozhkin (Russia, Moscow) . 180 181 401 Agata Powers (United States) . 120 Alla Triplik (Israel, Tel Aviv) . 124 Ayaz Mikayilzadeh (Azerbaijan, Baku) . 504 Dmitriy (Russia, Krasnodar) . 463 Agatha Karaseva (Russia, Chita) . 451 Altan Gokcek (Turkey, Adana) . 449 Azamat Zhanisov (Kazakhstan, Astana) . 398 Dmitry Arhar (Russia, Ekaterinburg) . 287 Agnieszka Florczyk (Poland, Krakow) .
    [Show full text]
  • Stefan Wolpe Society Newsletter 2007 Greeting
    1 STEFAN WOLPE SOCIETY NEWSLETTER 2007 Stefan Wolpe Newsletter/2007 © 2007 Stefan Wolpe Society, Inc. 1075 Stasia St., Teaneck NJ, 07666 editor Austin Clarkson associate editors Noyes Bartholomew Martin Brody Matthew Greenbaum Cheryl Seltzer production Daniel Foley Stefan Wolpe Society, Inc. Directors honorary president Katharina Wolpe president GREETING Martin Brody We hope you enjoy this newsletter, which arrives after a lapse of vice-presidents many years. The article on the Cantata Yigdal is by Stefan Wolpe’s Austin Clarkson cousin Gerald, who was attending the Jewish Theological Seminary at Matthew Greenbaum the time. Stephen M. Fry tells the story of the bronze bust of Wolpe that found a home in the music library of the University of California secretary at Los Angeles. And the events attending the birth of Wolpe’s one and Cheryl Seltzer only Symphony are recounted by one of the editors of the new edition. Bruce Pomahac of the Rodgers and Hammerstein Organization treasurer was most generous in supplying information for the appreciation of Noyes Bartholomew Trude Rittmann, who made an extraordinary contribution to the Broadway stage over three decades. And Dave Lewis instructs us on Hannah Arie-Gaifman how to access the Wolpe listings that he prepared for the All Music James Kendrick Guide website. The remaining departments bring news from the Robert Martin archives, conferences, books, editions, and recordings. The Chronicle Robert Morris of 2001-2007 and the Bibliography are comprehensive, but surely not Zaidee Parkinson complete, and we would be grateful for additions and corrections. We Paul Sadowski also welcome news items from performers, scholars, and enthusiasts Fred Sherry for inclusion in the next newsletter.
    [Show full text]
  • PTC5186034.Pdf
    PentaTone Classics PentaTone Glinka – Ruslan and Lyudmila - Alexander Vedernikov Alexander - Lyudmila and Ruslan – Glinka Glinka – Ruslan and Lyudmila - Alexander Vedernikov PentaTone Classics MIKHAIL GLINKA (1804-1857) Fairy opera in 3 parts, 5 acts Original version Libretto by Valerian Shirkov and Mikhail Glinka with the participation of K.A. Bakhturin, N.V. Kukolnik, M.A. Gedeonov and N.A. Markevich after the poem by Alexander Pushkin Critical Edition by Nadezhda Teterina and Evgeny Lavashev Orchestrations for the stage orchestra: Yuri Poteyenko • Stage production directed by Viktor Kramer Ruslan ...........Taras Shtonda, Bass-baritone Gorislava .............Maria Gavrilova, Soprano Lyudmila ......Ekaterina Morozova, Soprano Farlaf ..........................Valery Gilmanov, Bass Svetosar .................Vadim Lynkovsky, Bass Bayan ..........................Maksim Paster, Tenor Ratmir .....Aleksandra Durseneva, Contralto Naina .........Irina Dolzhenko, Mezzo-soprano Finn ..............................Vitaly Panfilov, Tenor Chorus and Orchestra of the Bolshoi Theatre, Moscow conducted by Alexander Vedernikov Chorus master: Valery Borisov Conductor: Igor Dronov Voice coach: Franco Pagliazzi Concertmaster: Dmitry Khakhamov Glass harmonica: Igor Sklyarov & Timofei Vinkovsky Flute: Sergei Balashov Oboe: Sofia Belyaeva English horn: Vladislav Komissarchuk Clarinet: Alexei Bogorad Recorded live at the Bolshoi Theatre Moscow, April 23rd –27th , 2003 Executive Producers: Anton Getman, Alexander Vedernikov, Job Maarse Recording Producer: Job Maarse Balance Engineer: Jean-Marie Geijsen Recording Engineers : Erdo Groot, Roger de Schot Editing: Sebastian Stein, Josh Blair Photo's: Kind permission Bolshoi Theatre Moscow Design: Netherlads A co-production of the Bolshoi Theatre Moscow and PentaTone Music 3 Fairy opera in 3 parts, 5 acts 7 No. 13: Gorislava’s Scene and Cavatina: “Kakie sladostnye zvuki” 4. 37 Disc 1 PTC 5186 035 8 No. 14: Ratmir’s Aria: ACT 1: “I zhar, i znoi smenila nochi ten’” 11.
    [Show full text]
  • Press Release
    EXPECTATION / ERWARTUNG 1914 and the century after A RUSSO-AUSTRIAN MULTIDISCIPLINARY PROJECT MUSIC – VIDEO – DANCE – MULTIMEDIA The Center for Contemporary Music at the Moscow State Tchaikovsky Conservatory and the Austrian Cultural Forum in Moscow together with “das weisse haus Wien” Cultural Collective The Vsevolod Meyerhold Theater Center Fabrika Center for Creative Industries present in April-May 2014 the cultural project “EXPECTATION / ERWARTUNG.” The first concert of the project will take place APRIL 10 IN THE RACHMANINOV HALL OF THE TCHAIKOVSKY CONSERVATORY at 7 p.m. The performers will be the “New Music Studio” ensemble under conductor Igor Dronov. The idea for the project: “Expectation” is one of the most successful works by Austrian composer Arnold Schoenberg, which he wrote not long before the beginning of World War I in 1914. After 100 years, the creators of the project are bringing back this work and other masterpieces of that time as well as presenting 7 world premieres of multimedia compositions created specially for the “Expectation” project. “Expectation” will end with a series of performances by Austrian media artists in the framework of the Moscow “Museum Night” at the Fabrika Center for Creative Industries. Since the beginning of World War I, often called the “forgotten war,” a hundred years have passed. The horrors of World War II eclipsed the catastrophe of the First World War, yet as August 1914 recedes from the present day and as we sharply recall the departed 20th century, we become more and more certain of the colossal significance that the Sarajevo shootings, in that small part of the enormous Habsburg Empire, had for the fate of civilization.
    [Show full text]