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Orchestra 28Januar / Maj 2004. Osnivaå, glavni i odgovorni urednik: Ivana Milovanoviñ, CID member, [email protected] Sadræaj: Mirjana Zdravkoviñ, kritiåar, [email protected] Jubilej 2 Nadeæda Mosusova, urednik podlistka Orchestra plus - Konci vremena sto godina od roðenja Balanãina Ålanovi redakcije: Juåe, danas, sutra (011) 10 Mr Vesna Kråmar, teatrolog balet Pesnik Åajkovski Minja Katiñ-Šerban, novinar-saradnik [email protected] Attachment 13 Ivana Milanoviñ, novinar-saradnik [email protected] Boris Ejfman o Åajkovskom Milica Ceroviñ, teoretiåar igre [email protected] Intervju 14 D. Dragiåeviñ, primabalerina Narodnog pozoriãta Juåe, danas, sutra (011) 17 Stalni saradnici: predstava Mammame Nela Antonoviñ, Dalija Añin, Dobrila Došen, Višnja Ðorðeviñ, Milica Intervju 18 Jovanoviñ, Aja Jung, Jelena Kajgo, Sofija Košniåar, Marijana Komljenoviñ, Jeane Claude Gallota Ksenija Šukuljeviñ-Markoviñ, Anika Radoševiñ, Isidora Stanišiñ, Teodora Sujiñ, Juåe, danas, sutra (011) 20 Vesna Vukajloviñ, Gabriela Tegleši Velimiroviñ, Milica Zajcev… San zimske noñi, Dæozefin, Body shop III Intervju 26 Katsura Kan Fotografi: Forum nezavisnih teatara 29 Miša Mustapiñ, Srðan Mihiñ, Goran Micevski, Milovan Kneæeviñ, Branko Juåe, danas, sutra (021) 31 Ignjatoviñ, Martina Ristiñ, Milan Radovanoviñ, Stevan Cvikiñ, Branko Luåiñ, Forum za novi ples Miomir Polzoviñ… Pogled u nepoznato 35 Dopisnici iz inostranstva: Info 36 Xenia Rakic/NEWYORK, Biserka Iliñ /BERLIN, Résumé Serbia and Montenegro 37 Helen Ciolkoviå/PARIS/Dragoslava Koprivica/PARIS, Francuska (Pariz) 40 Tamara Tomiñ-Vajagiñ/TORONTO, Breda Pretnar/LJUBLJANA Attachment 43 Neja Kos/LJUBLJANA, Maja Bezjak/ZAGREB, Tero Saarinen Mladen Mordej Vuåkoviñ/ZAGREB, Emilija Dæipunova/SKOPLJE, Gråka (Solun) 44 Tihomir Titizov/ SKOPLJE, Marija Softsi/SOLUN predstava Winterreise Marko Jobst/LONDON, Jenny Veldhuis/AMSTERDAM Hrvatska (Zagreb) 46 Labudovo jezero, Don Kihot, ZPA, Kaputt, Liberdance Grafiåki uredila: Tea Nikoliñ Kanada (Toronto) 53 Tehniåki savetnik: Dušan Ševiñ Nacionalni balet Kanade, World Moves Korice: Nenad Bañanoviñ Makedonija (Skoplje) 58 balet Ana Karenjina Adresa redakcije/Address: Nemaåka (Ãtudgart) 60 Ñirila i Metodija 2a/III, Beograd, predstava Lulu-åudoviãna tragedija Fax/tel. 00381 11 403-443 (posle 16h) Rumunija (Bukureãt) 62 Fax/tel. 00381 11 2606-630 Slovenija (Ljubljana) 63 Koncept Koncepta, Privlaåna protivnost Kompjuterski unos teksta: Gordana Krivokuña SAD (Njujork) 66 Ãvajcarska (Lozana) 71 Ãtampa: Prix de Lausanne 2004 GRAFONIN Baletska ãkola 74 Francuska 3, Beograd Akademija «Agripina VaganovaŸ Tel: 011 625 984 Orchestra mail 77 Jubilej 78 pedeset godina stvaralaãtva Mersa Kaningama Rukopisi se ne vrañaju. Orchestra cathedra 79 Kaningam tehnika Señanja 82 Societe Generale Yugoslav Bank AD - ekspozitura Genex D. Trniniñ, A. Ãurev Dinarski raåun: 908-0000000027501-22 (poziv na br. 05, rå. 302-310-32499) Résumé International Selection 85 Devizni raåun: 5475-978-32499 SWIFT: SOGYYUBG (na ime Ivana Milovanoviñ) ili Societe Generale, FFM SWIFT: SOGEDEFF; Societe Generale Paris 002012328000 SWIFT: SOGEFRPP; Commerzbank AG Frankfurt SWIFT: COBADEFF ISSN 0354-7922 CENA 400,00 DINARA Godiãnja pretplata: 1.000,00 din EU: 40E, USA 40$, Kanada etc: 45$ Naslovna strana/Cover page: The logo for Balanchine 100: The Centennial Celebration at New York City Ballet was inspired by a 1959 photograph by Henri Cartier-Bresson. It was designed and developed by Oberlander Design, Albany, New York, and is used courtesy of New York City Ballet. 1 Orchestra () 2004. Jubilej STO GODINA OD ROÐENJA KOREOGRAFA, IGRAÅA I PEDAGOGA ÆORÆA BALANÃINA (1904-1983) Opijen muzikom Georgij Melitonovi~ Balan~ivadze, poznatiji u baletskom svetu kao @or` ili D`ord` Balanšin, svakako nije jedini kore- ograf koji je voleo i razumeo muziku, ali je jedini koji je plesne vizije u svojim postavkama zasnivao koliko na rit- movima i melodijama, toliko i na unutrašnjoj strukturi muzi~kih partitura. Preko sto pedeset Balanšinovih dela, koja su postavljana i na muziku starih majstora i na savremena elektronska sazvu~ja poseduju jedan zajedni~ki imenitelj: bilo da su pisana specijalno za igru ili su prvobitno namenjena kon- certnom podijumu, uvek je muzika njegovo nadahnu}e i osnova na kojoj stvara svoje prekrasne plesne komade.Stil njegovih koreografija je, mo`da, i neadekvatno nazvan ‘’neoklasika’’, ali su one uvek bravurozno, do tan~ina pre- cizno i logi~no, do savršenstva lepo aran`irane s namerom da pokreti izvo|a~a budu fizi~ka ekstenzija muzike. Stoga nije preterano zaklju~iti da je Balanšin (na izvestan na~in) uvek bio ‘’opijen’’ muzikom na koju je koreografisao svoje balete. O tome svedo~i slede}a anegdota. Posle velikog uspeha baleta Igra~ke spirale ili Karakol na muziku Mocartovog Divertimenta br.15, dobar prijatelj je potra`io Balanšina da mu ~estita na izvanrednoj predstavi. Našao ga je u uglu mra~ne pozornice, samog i zanesenog. Neprestano je tiho ponavljao: Kakva divna muzika – slep i gluv za ~estitanja koja su `eleli da izraze zahvalni ljubitelji umetni~ke igre. I u drugim svojim delima Balanšin je ispoljavao izuzetnu sposobnost vizualizacije muzike na originalan na~in. On je smatrao da balet nije samo ples, ve} spoj muzike i igre i to nikako doslovan. Jer, po njemu, ne radi se o preciznoj Æoræ Balanãin, 1939 interpretaciji (notu po notu), niti ritmi~koj slici muzike od lestvice do lestvice. Njegove postavke su stoga dopuna muzici, nešto što joj koreograf dodaje polaze}i od raspolo`enja i duha odre|ene partiture. U svom poznatom bale- tu Kon~erto baroko, postavljenom na muziku Koncerta za dve violine i orkestar u d-mollu J.S. Baha, striktno se poš- tuje akademski stil igre, koji je u potpunoj saglasnosti s Bahovom pratiturom. Tako neoklasi~ne igra~ke forme svo- jom vizuelnom lepotom i jednostavnom strogoš}u u potpunosti odr`avaju ritam, emocionalni intenzitet i obojenost ove Bahove partiture. Tako se kvaliteti dva solo instrumenta (violine) suptilno reprodukuju na dva tela igra~ica - jedno je svetlo, visoko, sjajno, a drugo je tamno obojenih tonova, ~vrš}e u pokretu, bli`e zemlji. dobri baleti su kao planete Uz izuzetnu maštovitost, besprekorno poznavanje zakona klasi~ne igra~ke tehnike i njenih savremenih transpozi- cija, kristalna ~istota plesnih oblika, koji izviru iz emocionalnih i misaonih asocijacija velikih muzi~kih dela – uvek su bili Balanšinovo nadahnu}e i preokupacija. U svojim razmišljanjima o suštini umetni~ke igre on je napisao: Dobri baleti se kre}u u prostoru i vremenu kao ~vrsta tela, kao planete. U toj svojoj kompaktnosti igra ne sledi muziku, ve} sa njom ravnopravno sara|uje. U svojoj postavci baleta Serenada na muzuku Serenade za guda~e u C-duru P.I. ^ajkovskog on nastoji i uspeva da postigne jedinstvo igre i muzike, pa da misao kompozitora nadgradi svojim plesnim vizijama. Pri tome isti~e sadr`ajnost, dinami~an tok, figuralnu raznovrsnost, i više od svega, skladnost i lepotu igra~kih kompozicija. Objašnjavaju}i svoj odnos prema muzici, Balanšin je pisao: Svi mi imamo odre|ena ose}anja kada ~ujemo neki muzi~ki komad. Sopstvene emocije ima, naravno, i koreograf. On ta svoja ose}anja izra`ava postaljanjem ljudi na pozornicu na odre|en na~in, pa aran`ira njhove pokrete tako da oni imaju odre|eni kvalitet. Taj kvalitet vedrog raspo- lo`enja i raskošnosti neoklasi~nog igra~kog jezika Balanšin je postigao, na primer, u svom baletu Kristalna palata na muziku Simfonije C-dur @or`a Bizea. Teme s varijacijama za klavir i guda~e Pola Hindemita pod nazivom ^etiri temperamenta, komponovane su speci- jalno za Balanšinov ansambl – Njujork Siti Balet. Ovo je apstraktan balet, ali poseduje (umesto klasi~ne, narativne radnje) odre|eni sadr`aj. A njega sugeriše muzika. On se iskazuje akademskim plesnim formama oboga}enim iskustvima modernog baletskog izraza. Na taj na~in Balanšin posti`e uzbudljiviju i raznovrsniju sadr`ajnost u svo- jim delima, nego što to pru`aju tradicionalni klasi~ni baleti, koji imaju odre|enu ‘’pri~u’’. Tako je na Hindemitova ^etiri temperamenta Balanšin postavio ~etiri razli~ite varijacije: prva je setno pateti~na i predstavlja igra~ku trans- poziciju osnovne trodelne teme s aspekta melanholi~nog temperamenta; u slede}oj varijaciji sangvinik izra`ava Smaragdi, Æ. Balanãin & Merrill Ashley NYCB, 1977 svoja raspolo`enja poletnom igriom u ritmu valcera; tre}u varijaciju ostvaruje flegmatik u blagom, humornom raspolo`enju, dok `estoki i vatreni temperament kolerika, u poslednjoj, ~etvrtoj varijaciji, biva predstavljen burno uz teatralni patos. Serenada, Kyra Nichols, Kipling Hauston i Helene Alexopoulos Orchestra () 2004. 2 PAUL KOLNIK 3 Orchestra () 2004. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 1. Chaconne, J. Fugate & P. Boal/ 2. Harlequinade, E. Stiefel/ 3. Davidsbundlertanze / 4.Violin Concerto,J.Soto & W.Whelan/ 5. Emeralds (Jewels), S.Lavery & K.von Aroldingen 6. Violin Concerto, A.Evans & W.Whelan/ 7. Orpheus, N.Martins/ 8. Apollo, P. Boal/ 9. The Nutcracker, K. Nichols / 10. Firebird, J. Soto & K. Tracey 11. Diamonds (Jewls). L.Fischer & K.Nichols/ 12. Divertimento No. 15, P.Neal & C.Körbes/ 13. The Nutcracker, M.Weese/14. Tchaikovsky Pas de Deux, P.McBride 15. Wester Simphony, A. Evans/ 16. Kammermusic No. 2/ 17. Rubies (Jewels) * PHOTOS BY COSTAS Orchestra () 2004. 4 inovacije su transformacija starog U svom koreografskom opusu Balanšin je predstavljao na svoj na~in, klasi~ne balete kao što su Labudovo jezero, Uspavana lepotica, Krcko Oraš~i} P.I. ^ajkovskog, Kopelija Deliba i druge. Smatrao je da svojim ino- vacijama transformiše staro na savremeniji na~in, lišavaju}i ga svake pantomime, stavljaju}i u prvi plan barvuroznu tehniku i perfekciju u izvo|enju najslo`enijih igra~kih virtuoznosti iz re~nika klasi~ne baletske tradicije. Njegov ^ajkovski Pas de deux je primer na koji na~in Balanšin uslo`njava plesnu tehniku, tako da ovaj duet mogu izvesti samo balerine i igra~i koji poseduju besprekornu klasi~nu tehniku. Stoga je taj duet ~esto jedan od va`nih zadataka na me|unarodnim baletskim takmi~enjima za mlade baletske umetnike. sve što je napisao Stravinski moglo bi da se igra Veliki deo svog koreografskog stvaralaštva Balanšin je zasnovao na partiturama Igora Stravinskog.
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    07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 1 Lincoln Center Festival lead support is provided by American Express July 22 David H. Koch Theater Bolshoi Ballet Ballet Director Makhar Vaziev New York City Ballet Ballet Master in Chief Peter Martins Paris Opera Ballet Director of Dance Aurélie Dupont Jewels Choreography George Balanchine © The George Balanchine Trust Set Design Peter Harvey Lighting Design Mark Stanley New York City Ballet Orchestra Music Director Andrew Litton Approximate running time: 2 hours and 10 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Made possible in part by members of the Producers Circle Major support is provided by LuEsther T. Mertz Charitable Trust. Additional support is provided by Jennie L. and Richard K. DeScherer, the Lepercq Charitable Foundation in Memory of Paul Lepercq, The Harkness Foundation for Dance, and The Joelson Foundation. Endowment support for the Lincoln Center Festival 2017 presentation of Jewels 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. Travelers is the Global Sponsor of New York City Ballet. 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 2 LINCOLN CENTER FESTIVAL 2017 JEWELS July 22, 2017, at 7:30 p.m.
  • VAI 2005 Fall Catalog.Pmd

    VAI 2005 Fall Catalog.Pmd

    2005 FALL CATALOGUE THE LEADER IN RECORDINGS OF HISTORIC PERFORMANCES AND RARE REPERTOIRE A-18 GEN TWO NEW DVDS IN ALICIA ALONSO ON VVVAI’sss BROADWAAAY SERIES Listing on page 2 Listings on page 3 New Compact Disc Releases on Page 22 These and other recent VAI DVD releases pp. 2-8! New Hardy & Kicco Classics DVDs on Page 21 A Tribute to the “Voice of an Angel” Listing on page 3 Listing on page 3 February 1, 1922 ••• December 20, 2004 Details of this 2-DVD retrospective on page 3 Listing on page 7 Listing on page 6 From the President of VAI Recently Released Dance & Orchestral DVDs from VAI Dear Friends, Our current listings feature some of HARDY CLASSICS DVD Broadway’s brightest stars. Most of this material derives from the rich archives of the Bell Telephone Hour which has provided us with performances by some of the greatest artists from the worlds of opera, dance and the concert stage. The Broadway offerings were no less luminous with star turns from such legendary greats as Ethel Merman, Barbara Cook, Robert Goulet, Alfred Drake, Carol Lawrence, Larry Kert, Dolores Gray John Raitt, Howard Keel and Gretchen Wyler. Highlighting our new releases are TWO NEW DANCE DVDS FROM VAI DVDs devoted to the art of Barbara Cook and Carol Lawrence. Both ladies ALICIA ALONSO – PRIMA BALLERINA ASSOLUTA This GISELLE are still very much in the public eye. compilation from 1958 to 1985 includes extracts from many of Alicia Miss Cook, a cabaret favorite, is about NUREYEV • FRACCI Alonso’s most celebrated roles.
  • Ballet Basics an Educational Booklet for Teachers and Students

    Ballet Basics an Educational Booklet for Teachers and Students

    Ballet Basics An Educational Booklet for Teachers and Students Prepared by BALLET BASICS BALLET HISTORY Ballet began in Italy and France 400 years ago. The “Sun King”, King Louis XIV of France, began the first school of dance. This is why the official language of ballet is French. WHO DOES BALLET? In the beginning, ballet was only performed by royalty in the courts of kings and queens. Now, people of all ages and backgrounds learn ballet. Boys and girls around the world take ballet classes and dream of becoming famous dancers. DanceChance Level II students in the 33rd Annual Former PNB dancers Kaori Nakamura and Lucien Postelwaite School Performance in Kent Stowell’s Swan Lake It takes ten years or more to become a professional dancer. Most dancers start training when they are seven or eight years old. Dancers typically start auditioning for jobs in ballet companies when they graduate from high school or college. BALLET AND SPORTS There are many similarities between ballet and sports. Both dance and sports require strength, speed, balance, flexibility, and endurance. Male dancers have to be strong to lift women above their head and do big jumps and turns. Lesley Rausch and Karel Cruz with PNB Company dancers and PNB School students in Ronald Hynd’s The Sleeping Beauty PNB Company dancers in Jerome Robbins’ Glass Pieces Women must have strong ankles and feet to wear pointe shoes. Often, dancers use exercise machinesIn ballet, andone liftof theweights most to common build their strength and endurance. PNB Principal dancer Lindsi Dec BALLET VOCABULARY In ballet, one of the most common movements is called a plié [plee-AY].
  • Dance Theatre of Harlem Comes Full Circle in Returning to Jacob’S Pillow This Summer Celebrating Their 50Th Annual Gifts of $10,000 and Above

    Dance Theatre of Harlem Comes Full Circle in Returning to Jacob’S Pillow This Summer Celebrating Their 50Th Annual Gifts of $10,000 and Above

    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Theresa Ruth Howard TO OUR VISIONARY LEADERS The PillowNotes series comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through Dance Theatre of Harlem comes full circle in returning to Jacob’s Pillow this summer celebrating their 50th annual gifts of $10,000 and above. anniversary, as the company made its debut here in 1970. Half a century later, though much in the world has moved rapidly forward, ironically the state of blacks in ballet has waxed as much as it has waned. Founded by pedagogue Their deep affliliation ensures the success and longevity of the Karel Shook and former New York City Ballet Principal dancer Arthur Mitchell, DTH’s mission was to prove that Pillow’s annual offerings, including educational initiatives, free public blacks could do ballet, and provide a place for them to do so, not to diversify ballet. programs, The School, the Archives, and more. Standing in the midst of ballet’s frenetic efforts to diversify, we see that even as DTH was proving the veracity of black ballet talent, this was not an incentive for white directors to hire them into their companies. It actually had PRESENTS $25,000+ quite the opposite effect, with DTH becoming the default, or catch all. Directors regularly suggested, “Why don’t you go to Dance Theatre of Harlem?” to rejected brown ballet dancers. As a result, DTH became a beautiful oasis DANCE THEATRE OF HARLEM Carole* & Dan Burack Christopher Jones* & Deb McAlister for brown dancers, often unique one-of-a-kinds, who didn’t fit into ballet’s status quo but whom Mitchell knew just The Barrington Foundation Wendy McCain how to use and draw the best out of.