DOCSLIB.ORG

El Papel De La Mujer En La Historia Del Ballet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UNIVERSIDAD POLITÉCNICA DE VALENCIA Departamento de Comunicación Audiovisual, Documentación e Historia del Arte Coreógrafas, directoras y pedagogas: la contribución de la mujer al desarrollo del ballet y los cambios de paradigmas en la transición al s. XXI Programa de Doctorado en Música Tesis presentada por Ana Abad Carlés Dirigida por Dra. Inmaculada Álvarez Buenos Aires, agosto 2012 ÍNDICE ÍNDICE DE ILUSTRACIONES 5 ÍNDICE DE GRÁFICAS Y TABLAS 9 AGRADECIMIENTOS 11 RESUMEN (CASTELLANO) 13 RESUMEN (INGLÉS) 15 RESUMEN (VALENCIANO) 17 PREFACIO 19 INTRODUCCIÓN 25 La mujer en la danza como objeto de investigación 25 Hipótesis de la investigación 26 Delimitación geográfica, temporal y de género coreográfico 28 Metodología 33 Estado de la cuestión 39 Estructura de la tesis 49 El contexto español 55 PRIMERA PARTE: LA MUJER EN LA HISTORIA DEL BALLET 59 CAPÍTULO 1. EL CONCEPTO DE PIONERA Y LA MUJER EN EL BALLET EN EL S. XIX 61 1.1. Introducción 63 1.2. Marie Sallé (1707 - 1757) y el mito de la pionera 65 1.3. La bailarina como “receptora de pasos” 72 CAPÍTULO 2. LA NUEVA CONCEPCIÓN COREOGRÁFICA DEL S. XX 89 1 2.1. Introducción 91 2.2. Los Ballets Rusos de Diághilev 94 2.3. Bronislava Nijinska (1891 - 1972) 102 CAPÍTULO 3. LA MUJER EN EL BALLET EN EL S. XX 127 3.1. Introducción 129 3.2 El entorno británico 132 3.2.1 Ninette de Valois (1898 - 2001) 133 3.2.2 Marie Rambert (1888 - 1982) 142 3.2.3 Andrée Howard (1910 - 1968) 147 3.3. El entorno soviético 154 3.3.1. Agrippina Vagánova (1879 - 1951) 155 3.3.2. Nina Anisímova (1909 - 1979) 161 3.4. El entorno estadounidense 165 3.4.1. Agnes de Mille (1905 - 1993) 166 3.4.2. Ruth Page (1899 - 1991) 173 3.5. El entorno latinoamericano 178 3.5.1 Mercedes Quintana (1910/12 - 1996) 180 3.5.2. Alicia Alonso (1920) 183 3.6. El entorno europeo continental 190 3.6.1. Birgit Cullberg (1908 - 1999) 191 3.6.2. Janine Charrat (1924) 196 CAPÍTULO 4. EL POSTMODERNISMO 217 4.1. Introducción 219 4.2. Twyla Tharp (1942) 223 4.3. El academicismo finisecular 243 SEGUNDA PARTE: ¿DÓNDE ESTÁN LAS MUJERES? NUEVAS TENDENCIAS Y MÍSTICAS SOBRE EL ETERNO FEMENINO 255 CAPÍTULO 5. EXCAVANDO TÚNELES 258 5.1. Introducción 260 2 5.2. La crítica feminista en el ballet 262 5.3. La democracia artística de los noventa: el arte es Pop 271 5.4. Las coreógrafas actuales 276 5.5. El mito de la “pionera”: Excavando túneles 284 CAPÍTULO 6. GLOBALIZACIÓN Y NUEVAS TENDENCIAS 288 6.1. Introducción 290 6.2. El legado de George Balanchine 292 6.3. El relevo masculino en las instituciones de danza 304 6.4. Nuevas estéticas y nuevas misoginias 324 6.4.1. Las nuevas corrientes coreográficas 325 6.4.2. Las nuevas estéticas en el ballet 336 CAPÍTULO 7. EL ETERNO FEMENINO: LOS NUEVOS DETERMINISMOS 352 7.1. Introducción 354 7.2. El determinismo biológico 358 7.3 El determinismo espacial 364 7.4 El determinismo emocional 371 7.5 La infantilización del ballet 377 CONCLUSIONES FINALES 394 Recomendaciones 414 APÉNDICE I : CONTRIBUCIÓN DE LAS COREÓGRAFAS AL REPERTORIO DE RAMBERT DANCE COMPANY 418 APÉNDICE II: ENTREVISTA CON SUSIE CROW EN EL ROYAL FESTIVAL HALL EL 10 SEPTIEMBRE 2003 424 APÉNDICE III: ENTREVISTA CON CATHY MARSTON EN LA ROYAL OPERA HOUSE EL 22 DE NOVIEMBRE DE 2003 434 3 APÉNDICE IV: DIRECCIÓN EN LAS PRINCIPALES COMPAÑÍAS DE BALLET 436 APÉNDICE V: GLOSARIO DE TÉRMINOS 438 REFERENCIAS 442 Bibliografía 442 Material audiovisual 459 Comunicación personal: emails, entrevistas y conferencias 462 4 ÍNDICE DE ILUSTRACIONES Figura 1: Svetlana Beriosova y bailarines del Royal Ballet en Les Biches (1924) ....... 59 Figura 2: Marie Sallé (1707 - 1757) .............................................................................. 61 Figura 3: Emma Livry en Le Papillon (1860) ................................................................ 73 Figura 4: Pierina Legnani en El lago de los cisnes (1895) ........................................... 76 Figura 5: Maria Taglioni en La Sylphide (1832) ........................................................... 78 Figura 6: Tutú romántico para Les Sylphides (1909) .................................................... 79 Figura 7: Tutú de plato para The Sleeping Princess (1921) ......................................... 79 Figura 8: Mathilde Kschessinska (1872 - 1971) ............................................................ 81 Figura 9: Bronislava Nijinska en Petrouchka (1911) .................................................... 89 Figura 10: Anna Pavlova en La muerte del cisne (1905) .............................................. 95 Figura 11: Bronislava Nijinska en La siesta de un fauno (1912) ................................ 102 Figura 12: Felia Dubrowska en un ensayo de Les Noces (1923) ............................... 114 Figura 13: Les Noces, Escena 2. Ballet Mariinsky (2005) .......................................... 116 Figura 14 : Georgina Parkinson con el Royal Ballet en Les Biches (1964) ................ 120 Figura 15: A Wedding Bouquet (1937) ........................................................................ 121 Figura 16: Agnes de Mille en Rodeo (1942) ................................................................ 127 Figura 17 : Darcey Bussell en Checkmate (2007) ....................................................... 136 Figura 18: Robert Helpmann en The Rake's Progress (1935) ..................................... 139 Figura 19: Marie Rambert y Frederick Ashton en A Tragedy of Fashion (1926) ....... 143 Figura 20: Andrée Howard y Kurt Karnakosky en Death and the Maiden (1937) ..... 148 5 Figura 21: Darcey Bussell y Christopher Saunders en La Fête Étrange (2005) ......... 151 Figura 22: Vagánova en clase c. 1940 ......................................................................... 159 Figura 23: El Ballet Bolshoi en la escena de la danza de las jóvenes con rosas ........ 164 Figura 24: Escena 1 de Rodeo (1942) ......................................................................... 168 Figura 25: Nora Kaye en Fall River Legend (1948) .................................................... 169 Figura 26: Escena de Frankie and Johnny (1938) ...................................................... 175 Figura 27: Alicia Alonso en El lago de los cisnes, (1955) ........................................... 185 Figura 28: Anna Valev y Jan-Erik Wikstrom en Miss Julie (2008). Fotografía propiedad de la Real Opera Sueca ............................................................................... 192 Figura 29 : Janine Charrat y Roland Petit (c.1941) .................................................... 199 Figura 30 : Jean Babilée en Jeu de cartes (1945) ....................................................... 200 Figura 31: Escena de Adam Miroir (1948) .................................................................. 202 Figura 32: Escena de Les algues (1953) ...................................................................... 206 Figura 33 : In the Upper Room (1986) de Twyla Tharp .............................................. 217 Figura 34: In the Upper Room (1986) ......................................................................... 226 Figura 35: Mikhail Baryshnikov en Push Comes to Shove (1976) .............................. 235 Figura 36: Leanne Benjamin en The Judas Tree (1992) ............................................. 255 Figura 37: English National Ballet en Facing Viv (2002) de Cathy Marston ............. 258 Figura 38: Deborah Bull y Adam Cooper en Steptext (1985)...................................... 263 Figura 39: Margot Fonteyn y Rudolf Nureyev en ensayos de Marguerite and Armand (1963) ............................................................................................................................ 267 Figura 40: Louise Nadeau y Olivier Wevers en Agon (1957) ...................................... 288 Figura 41: Tanaquil Le Clercq en La Valse (1951) ..................................................... 296 6 Figura 42: Adrian Fry y Gavin Larsen en la Introducción de Los cuatro temperamentos (1946) ............................................................................................................................ 297 Figura 43: Wendy Whelan y Jack Soto en el final del paso a dos de Agon (1957) ..... 326 Figura 44: Katia Waldo y Rubén Martín en el paso a dos de In the Middle Somewhat Elevated (1987) ............................................................................................................. 328 Figura 45: Atterbaleto en Cantata (2005) ................................................................... 331 Figura 46: Campaña publicitaria del San Francisco Ballet (2003) por Goodby Silverstein & Partners .................................................................................................. 337 Figura 47: Jennifer Ringer en El cascanueces (2010) ................................................. 342 Figura 48: Australian Ballet en Checkmate (1937) ..................................................... 352 Figura 49: Barbie in The Nutcracker(2001) ................................................................ 381 Figura 50: English National Ballet representando Angelina's Star Performance (2007) ...................................................................................................................................... 386 Figura 51: Natalie Portman en Cisne Negro (2010) ................................................... 391 7 8 ÍNDICE DE GRÁFICAS Y TABLAS Gráfica 1: Número de obras creadas a lo largo de la historia de la actual Rambert Dance Company ...........................................................................................................
Recommended publications
  • Radio 3 Listings for 10 – 16 January 2015 Page

    Radio 3 Listings for 10 – 16 January 2015 Page

    Radio 3 Listings for 10 – 16 January 2015 Page 1 of 10 SATURDAY 10 JANUARY 2015 5:01 AM SAT 14:00 Saturday Classics (b04xrnhb) Brahms, Johannes (1833-1897) Simon Heffer: Best of British Playlist SAT 01:00 Through the Night (b04wmy50) Academic Festival Overture, Op.80 Casals Quartet BBC National Orchestra of Wales, Grant Llewellyn Episode 2 (Conductor) The Casals Quartet play Mozart, Ligeti and Brahms. Presented Inspired by Radio 3 Breakfast's "Best of British" playlist which by Jonathan Swain. 5:12 AM ran throughout 2014, journalist Simon Heffer continues the Vivaldi, Antonio (1678-1741) choice of his favourite music by British composers, including 1:01 AM Concerto in D minor for strings and basso continuo (RV.128) works by Frank Bridge, Gerald Finzi, Herbert Howells, Eric Mozart, Wolfgang Amadeus (1756-1791) Arte dei Suonatori, Eduardo Lopez (conductor) Coates and George Lloyd. String Quartet in C major (K.465) "Dissonance" Casals Quartet: Vera Martínez-Mehner and Abel Tomàs 5:18 AM (violins), Jonathan Brown (viola), Arnau Tomàs (cello) Strauss, Richard (1864-1949) SAT 16:00 Sound of Cinema (b04xrnhd) Der Abend (Op.34 No.1) for 16 part choir Film Musicals - The Last 50 Years 1:29 AM Danish National Radio Choir, Stefan Parkman (conductor) Ligeti, Gyorgy (1923-2009) The Sound of Music with Julie Andrews is 50 years old - in the Quartet no. 1 (Metamorphoses nocturnes) for strings 5:27 AM week of the release of Sondheim's screen version of Into The Casals Quartet Chopin, Fryderyk [1810-1849] Woods, Matthew Sweet looks back on the last half century of Krakowiak - rondo for piano and orchestra (Op.14) in F major the screen musical.

  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At

    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
  • A Mixed Blessing at the Ballet 01

    A Mixed Blessing at the Ballet 01

    Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady.
  • Leanne Benjamin Built for Ballet

    Leanne Benjamin Built for Ballet

    October 2021 M October 2021 Melbourne Books LEANNE BENJAMIN An Autobiography BUILT FOR BALLET LEANNE BENJAMIN WITH SARAH CROMPTON This autobiography by Leanne Benjamin with Sarah Crompton reveals the extraordinary life and career of one of the world’s most important ballet dancers of the past 50 years. Leanne was born and raised in the central Queensland town of Rockhampton in a tightly knit hard-working Catholic family. At the age of 3 she attended her first ballet class and at 16 she was accepted into the Royal Ballet School in London and at 18 danced her first leading role on the Royal Opera House stage in the school’s performance of Giselle that catapulted her to a stellar career. The book takes you behind the scenes to find a real understanding of the pleasure and the pain, the demands and the intense commitment it requires to become a ballet dancer. It’s a book for ballet-lovers which will explain from Benjamin’s personal point of view, how ballet has changed and is changing. It’s a book of history: she was first taught by the people who created ballet in its modern form and now she works with the dancers of today, handing on all she has known and learnt. But it’s also a book for people who are just interested in the psychology of achievement, how you go from being a child in small town Rockhampton in the centre of Australia to being a power on the world’s biggest stages — and how an individual copes with the ups and downs of that kind of career.
  • History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted

    History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted

    History Timeline from 13.7 Billion Years ago to August 2013. 1 of 588 pages This PDF History Timeline has been extracted from the History World web site's time line. The PDF is a very simplified version of the History World timeline. The PDF is stripped of all the links found on that timeline. If an entry attracts your interest and you want further detail, click on the link at the foot of each of the PDF pages and query the subject or the PDF entry on the web site, or simply do an internet search. When I saw the History World timeline I wanted a copy of it for myself and my family in a form that we could access off-line, on demand, on the device of our choice. This PDF is the result. What attracted me particularly about the History World timeline is that each event, which might be earth shattering in itself with a wealth of detail sufficient to write volumes on, and indeed many such events have had volumes written on them, is presented as a sort of pared down news head-line. Basic unadorned fact. Also, the History World timeline is multi-faceted. Most historic works focus on their own area of interest and ignore seemingly unrelated events, but this timeline offers glimpses of cross-sections of history for any given time, embracing art, politics, war, nations, religions, cultures and science, just to mention a few elements covered. The view is fascinating. Then there is always the question of what should be included and what excluded.
  • Dancers for the World (Catherine Habasque) Jg 10.2020

    Dancers for the World (Catherine Habasque) Jg 10.2020

    DFW / DANCERS FOR THE WORLD „CURE THE PAST, EMBRACE THE PRESENT, BUILT THE FUTURE“ A HUMANITARIAN ACTION FOR TRAUMATIZED AND / OR UNDERPRIVILEGED CHILDREN, WOMEN AND YOUNG ADULTS VICTIMS OF CONFLICT “The two weeks of dance workshops offered by the volunteers of Dancers For the World to our sexually assaulted girls was a magical time for all.” (Sabine Claudio, Director Caméléon Philippines) www.dfw-ch.com 2 TABLE OF CONTENTS CONTEXT AND JUSTIFICATION 3 THE ORIGIN OF A PROJECT 4 OUR MISSION AND VALUES 4 GOALS 5 METHODOLOGY 5 PARTNERSHIP 7 BENEFICIARIES 7 RESULTS 8 FEEDBACKS 8 COMMUNICATION 9 TEAM 9 2020 - 2015 11 CALENDAR DFW 13 BUDGET 14 CONTACT 15 www.dfw-ch.com 3 CONTEXT AND JUSTIFICATION In a context where crises in the world are multiplying and taking different forms, the first victims remain populations, especially children, women and young adults who are often marginalized and insufficiently involved in the search for solutions. Yet the latter must be able to play a role as a driving force for conflict resolution and peace building. The arts, and dance in particular, can initiate new perspectives for the future. While performing arts have value in and for themselves, they can engage with societal challenges such as inequalities, migration, conflict and violence, and create a deeper intercultural understanding. The arts can prepare citizens to think critically, act creatively, and foster civic engagement and social change, while at the same time providing a safe space to express their emotions. Dancers For the World (DFW) has demonstrated its power in supporting the most vulnerable, empowering children, women and young adults, and creating protected surroundings to exchange in time of crises.
  • Workshops & Research

    Workshops & Research

    WORKSHOPS & RESEARCH 20 JULY - 16 AUGUST 2014 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'14»: 20 July ! Week1: 21 - 25 July Intensive1: 26 + 27 July Week2: 28 July - 01 August! Intensive2: 02 + 03 August! Week3: 04 - 08 August! Intensive3: 09 + 10 August! Week4: 11 - 15 August ! «expressions'14»: 16 August Index 3 Artists listed by departments 4 - 133 All workshop descriptions listed by artists 134 - 149 All Field Project descriptions listed by artists 149 - 150 Pro Series description 2 CONTEMPORARY DANCE Jose Agudo | Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Marco Berrettini | Bruno Caverna | Marta Coronado | Zoi Dimitriou | Frey Faust | Ori Flomin | Saju Hari | Sascha Hauser aka CIONN | Kathleen Hermesdorf | Damien Jalet | Peter Jasko | German Jauregui | Kira Kirsch | Kerstin Kussmaul | Juliana Neves | Sabine Parzer | Rasmus Ölme | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Hagit Yakira | David Zambrano IMPROVISATION Marco Berrettini | Adriana Borriello | Alice Chauchat | Ivo Dimchev | Zoi Dimitriou | Defne Erdur | Judith Grodowitz | Miguel Gutierrez | Francesca Harper | Andrew Harwood de Lotbinière | Keith Hennessy | Damien Jalet | Martin Kilvády | Barbara Kraus | Aiko Kazuko Kurosaki | Jennifer Lacey | Benoît Lachambre | Nita Little | Eroca
  • Bolshoi Theater

    Bolshoi Theater

    FOR IMMEDIATE RELEASE Contact: Dick Caples Tel: 212.221.7909 E-mail: [email protected] Lar Lubovitch awarded the 20th annual prize for best choreography by the Prix Benois de la Danse at the Bolshoi Theater. He is the first head of an American dance company ever to be so honored. New York, NY, May 23, 2012 – Last night at the Bolshoi Theater in Moscow, Lar Lubovitch was awarded the 20th annual prize for best choreography by the Prix Benois de la Danse. Lubovitch is the first head of an American dance company ever presented with the award. He was honored for his creation of Crisis Variations, which premiered at the Baryshnikov Arts Center in New York City on November 9, 2011. The work, for seven dancers, is set to a commissioned score by composer Yevgeniy Sharlat, and the score was performed live at its premiere by the ensemble Le Train Bleu, under the direction of conductor Ransom Wilson. To celebrate the occasion, the Lar Lubovitch Dance Company performed the duet from Meadow for the audience of 2,500 at the Bolshoi. The dancers in the duet were Katarzyna Skarpetowska and Brian McGinnis. The laureates for best choreography over the previous 19 years include: John Neumeier, Jiri Kylian, Roland Petit, Angelin Preljocaj, Nacho Duato, Alexei Ratmansky, Boris Eifman, Wayne McGregor, Sidi Larbi Cherkaoui, and Jorma Elo. Other star performers and important international figures from the world of dance received prizes at this year’s award ceremony. In addition to the award for choreography given to Lubovitch, the winners in other categories were: For the best performance by a ballerina: Alina Cojocaru for the role of Julie in “Liliom” at the Hamburg Ballet.
  • The Mariinsky Ballet & Orchestra

    The Mariinsky Ballet & Orchestra

    Thursday, October 1, 2015, 8pm Friday, October 2, 2015, 8pm Saturday, October 3, 2015, 2pm & 8pm Sunday, October 4, 2015, 3pm Zellerbach Hall The Mariinsky Ballet & Orchestra Gavriel Heine, Conductor The Company Diana Vishneva, Nadezhda Batoeva, Anastasia Matvienko, Sofia Gumerova, Ekaterina Chebykina, Kristina Shapran, Elena Bazhenova Vladimir Shklyarov, Konstantin Zverev, Yury Smekalov, Filipp Stepin, Islom Baimuradov, Andrey Yakovlev, Soslan Kulaev, Dmitry Pukhachov Alexandra Somova, Ekaterina Ivannikova, Tamara Gimadieva, Sofia Ivanova-Soblikova, Irina Prokofieva, Anastasia Zaklinskaya, Yuliana Chereshkevich, Lubov Kozharskaya, Yulia Kobzar, Viktoria Brileva, Alisa Krasovskaya, Marina Teterina, Darina Zarubskaya, Olga Gromova, Margarita Frolova, Anna Tolmacheva, Anastasiya Sogrina, Yana Yaschenko, Maria Lebedeva, Alisa Petrenko, Elizaveta Antonova, Alisa Boyarko, Daria Ustyuzhanina, Alexandra Dementieva, Olga Belik, Anastasia Petushkova, Anastasia Mikheikina, Olga Minina, Ksenia Tagunova, Yana Tikhonova, Elena Androsova, Svetlana Ivanova, Ksenia Dubrovina, Ksenia Ostreikovskaya, Diana Smirnova, Renata Shakirova, Alisa Rusina, Ekaterina Krasyuk, Svetlana Russkikh, Irina Tolchilschikova Alexey Popov, Maxim Petrov, Roman Belyakov, Vasily Tkachenko, Andrey Soloviev, Konstantin Ivkin, Alexander Beloborodov, Viktor Litvinenko, Andrey Arseniev, Alexey Atamanov, Nail Enikeev, Vitaly Amelishko, Nikita Lyaschenko, Daniil Lopatin, Yaroslav Baibordin, Evgeny Konovalov, Dmitry Sharapov, Vadim Belyaev, Oleg Demchenko, Alexey Kuzmin, Anatoly Marchenko,
  • Festivals and Occasions People Premieres

    Festivals and Occasions People Premieres

    Dutch National Ballet - Daniel Camargo and Igone de Jongh in John Neumeier's La Dame aux Camélias. © Emma Kauldhar Contents In 2018 we are celebrating People 74 Crystal Palace th our 40 Anniversary! CATHERINE PAWLICK takes in a spectacular 10 Mathias Dingman production at the Kremlin Palace Theatre 40 YEARS VIKI WESTALL meets Birmingham Royal Ballet's in Moscow nurturing students towards American principal dancer professional careers Festivals and 40 YEARS 26 Mark Morris Occasions inspiring dancers and audiences AMANDA JENNINGS interviews the inimitable alike with exciting repertoire choreographer in New York 44 Le Temps d'Aimer FRANÇOIS FARGUE on the diverse programme offered by the unique festival in Biarritz 40 YEARS 48 Katja Khaniukova gracing the stage of Munich’s EMMA KAULDHAR catches up with ENB's legendary National Theatre 64 Carlos Acosta - A Celebration Ukrainian soloist in Kiev ROBERT PENMAN weighs up the Cuban's programme to celebrate 30 years on stage 66 Lorenzo Trossello MIKE DIXON meets Northern Ballet's 70 Umbrella 2018 Today the Foundation manages young Italian dancer GERARD DAVIS picks some of the Germany’s largest junior compa- contemporary dance festival's highlights ny: the Bayerisches Junior Ballett Premieres München. We look forward to 78 Joaquin De Luz Farewell welcoming you at a performance Remembrance LUCY VAN CLEEF watches the NYCB in the near future. 22 principal step down in style AMANDA JENNINGS considers Wayne Eagling's new wartime ballet for New English Ballet Theatre 6 ENTRE NOUS Front cover: Birmingham Royal 83 AUDITIONS AND JOBS Ballet - Mathias Dingman and Delia 52 The Hamlet Complex Mathews in Juanjo Arqués' Ignite GERARD DAVIS unravels Alan Lucien Øyen's 97 WHAT’S ON latest piece for the Norwegian National Ballet 106 PEOPLE PAGE >>> Photo:ChristinLosta | heinz-bosl-stiftung.de | bayerischesjuniorballett.de Photo:ChristinLosta | heinz-bosl-stiftung.de Dance Europe - November 2018 3 ROYAL SWEDISH BALLET DANCE EUROPE Performances FOUNDED IN 1995 P.O.
  • 2. Ipostases of the Choreographic Dialogue 1

    2. Ipostases of the Choreographic Dialogue 1

    DOI: 10.2478/RAE-2019-0018 Review of Artistic Education no. 17 2019 171-182 2. IPOSTASES OF THE CHOREOGRAPHIC DIALOGUE 153 Cristina Todi Abstract: The analysis of the aesthetic face of dance brings to our forefront the fascination for the movement on many artists who experienced the movement and, above all, explored the possibilities of kinetic art or movement movement. In its most elevated form, dance contains not only this element but also the infinite richness of human personality. It is the perfect synthesis of the abstract and the human, of mind and intellect with emotion, discipline with spontaneity, spirituality with erotic attraction to which dance aspires; and in dance as a form of communication, it is the most vivid presentation of this fusion act that is the ideal show. Key words: Arts, ballet, dance, dialogue, aesthetic 1. Introduction The Evolution of the Syncretic Dialogue between Choreography, Theatre, Music, Literature and Visual Arts We shall initiate an approach of the discourse regarding the historical evolution of choregraphic dialogue, even from the age when this artistic genre started to assume clear contours, rather from the 17th century. Without excluding the importance of the previous periods in history, the 17th and the 18th centuries are considered to be the starting points of dance for amusement. This was often dedicated to ceremonies or entertainment. In approaching these moments, the increased attention towards the aesthetic expression and the manner in which beauty was intensified, sometimes even at the expense of the real, is notable. Moreover, the technicality under which theatrical ballet was formulated in its demonstrative forms, full of technical charge, although arid in ideas or expression that reach the sensitive cords of the viewer.
  • POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefihe Wikst

    POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefihe Wikst

    POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefihe Wikstrom Ofelia Jarl Ortega Samlingen Valeria Graziano • Samira Elagoz Ellen Soderhult Edgar Schmitz Manuel Scheiwiller Alina Popa Antonia Rohwetter & Max Wallenhorst Danjel Andersson : R - i I- " Mette Edvardsen Marten Spdngberg (Eds.) % POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefine Wikstrom Ofelia Jarl Ortega Samlingen Valeria Graziano Samira Elagoz Ellen Soderhult Edgar Schmitz Manuel Scheiwiller Alina Popa Antonia Rohwetter & Max Wallenhorst Danjel Andersson Mette Edvardsen Marten Spangberg (Eds.) Published by MDT 2017 Creative commons, Attribution-ShareAlike 4.0 International Edited by Danjel Andersson, Mette Edvarsdsen and Mirten Spingberg Designed by Jonas Williamson ISBN 978-91-983891-0-4 This book is supported by Cullbergbaletten and Life Long Burning, a cultural network, funded with support from the European Commission. CULLBERGBALETTEN Culture o BUNNTNG Contents Acknowledgement 9 Danjel Andersson I Had a Dream 13 Marten Spangberg Introduction 18 Alice Chauchat Generative Fictions, or How Dance May Teach Us Ethics 29 Ana Vujanovic A Late Night Theory of Post-Dance, a selfinterview 44 Andre Lepecki Choreography and Pornography 67 Jonathan Burrows Keynote address for the Postdance Conference in Stockholm 83 Bojana Cvejic Credo In Artem Imaginandi 101 Bojana Kunst Some Thoughts on the Labour of a Dancer 116 Charlotte Szasz Intersubjective