NEW/WORKS Spuck / Goecke / Clug / Forsythe 3 Aufbruch!
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Quadruple Bill NEW/WORKS Spuck / Goecke / Clug / Forsythe 3 Aufbruch! Quadruple Bill NEW/WORKS Spuck / Goecke / Clug / Forsythe Presented by Cassiopeia’s Garden Nachtmerrie Source Blake Works I 3 Aufbruch! Quadruple Bill NEW/WORKS Spuck / Goecke / Clug / Forsythe Presented by Cassiopeia’s Garden Nachtmerrie Source Blake Works I 4 5 New/Works New/Works NEW/WORKS The Stuttgart tradition is innovation: since ballets gradually turned into cheers and 1961, the five Artistic Directors of the Stutt- deep admiration. Choreographers should gart Ballet have commissioned or created be able to work as freely as possible in around 400 new works, many of which were Stuttgart, and the best possible conditions later danced by other companies. A good are created for them to do so. Cranko began handful of the ballets made in Stuttgart have early on to educate an audience which today become classics in the international ballet is sometimes reproached for its love of the repertoire, including not only John Cranko’s old story ballets, but the fact is that in over story ballets but also works by Kenneth 50 years the curious have prevailed over MacMillan, Uwe Scholz or John Neumeier’s the door-slamming faction. It’s an audience Lady of the Camellias. Quite astonishing for which in spite of initial rejection persistently a medium-sized opera house that is not comes back, that greedily reads reviews and even located in the German capital and then nevertheless forms its own opinion, whose ballet company did not play a role in that puts up with a few years of creative international dance world before that. The drought until things become exciting again, seeds John Cranko planted here in just a that looks at a new dance language again few years could not have blossomed more and again until it eventually understands sustainably: In addition to the very special it and falls in love. At every Young Choreo- cohesion of a company made up of different graphers evening, these spectators hope personalities, it was already part of Cranko’s for the next unusual choreographic voice, vision as director to present world premieres for the “step around the next corner”, to use by his contemporaries next to his own works Reid Anderson’s words. Tamas Detrich can and to promote his dancers as choreogra- also rely on this curiosity and celebrates the phers. He gave Kenneth MacMillan refuge 60th anniversary of the company not with when he was not allowed to realise his a retrospective, but with something new, new ideas at the Royal Ballet in London, he with world premieres. And with the return brought Glen Tetley with his modern dance of probably the most revolutionary of Stutt- aesthetic to Stuttgart, shortly before his gart’s Noverre graduates: After a long career death he invited Jerome Robbins to come of discoveries and developments, William Christian Spuck in rehearsal with Alessandro Giaquinto to Stuttgart and he allowed young dancers Forsythe returns to Stuttgart with one of his such as John Neumeier and Jiří Kylián to latest works. develop their own style and respected them as colleagues. From the beginning, Cranko Christian Spuck wanted to see new and innovative works next to his own. From the constellation Cassiopeia come the strongest radio waves in the sky next Curiosity and openness to our sun: the remnant of a supernova that exploded millenia ago leaves discerni- All of his successors learned this curiosity ble traces until today. What from the past and openness from him: Marcia Haydée, who still echoes in us years later? This is what commissioned William Forsythe’s Orpheus Christian Spuck asks himself in his crea- and accepted door-slamming spectators as tion for the anniversary, his first Stuttgart well as protesting dancers for it, or later Reid work since his farewell piece Das Fräulein Anderson, who experienced how the initial von S. nine years ago. Coming from the booing for Marco Goecke’s dark, nightmarish John Cranko School, the young artist from 4 5 New/Works New/Works NEW/WORKS The Stuttgart tradition is innovation: since ballets gradually turned into cheers and 1961, the five Artistic Directors of the Stutt- deep admiration. Choreographers should gart Ballet have commissioned or created be able to work as freely as possible in around 400 new works, many of which were Stuttgart, and the best possible conditions later danced by other companies. A good are created for them to do so. Cranko began handful of the ballets made in Stuttgart have early on to educate an audience which today become classics in the international ballet is sometimes reproached for its love of the repertoire, including not only John Cranko’s old story ballets, but the fact is that in over story ballets but also works by Kenneth 50 years the curious have prevailed over MacMillan, Uwe Scholz or John Neumeier’s the door-slamming faction. It’s an audience Lady of the Camellias. Quite astonishing for which in spite of initial rejection persistently a medium-sized opera house that is not comes back, that greedily reads reviews and even located in the German capital and then nevertheless forms its own opinion, whose ballet company did not play a role in that puts up with a few years of creative international dance world before that. The drought until things become exciting again, seeds John Cranko planted here in just a that looks at a new dance language again few years could not have blossomed more and again until it eventually understands sustainably: In addition to the very special it and falls in love. At every Young Choreo- cohesion of a company made up of different graphers evening, these spectators hope personalities, it was already part of Cranko’s for the next unusual choreographic voice, vision as director to present world premieres for the “step around the next corner”, to use by his contemporaries next to his own works Reid Anderson’s words. Tamas Detrich can and to promote his dancers as choreogra- also rely on this curiosity and celebrates the phers. He gave Kenneth MacMillan refuge 60th anniversary of the company not with when he was not allowed to realise his a retrospective, but with something new, new ideas at the Royal Ballet in London, he with world premieres. And with the return brought Glen Tetley with his modern dance of probably the most revolutionary of Stutt- aesthetic to Stuttgart, shortly before his gart’s Noverre graduates: After a long career death he invited Jerome Robbins to come of discoveries and developments, William Christian Spuck in rehearsal with Alessandro Giaquinto to Stuttgart and he allowed young dancers Forsythe returns to Stuttgart with one of his such as John Neumeier and Jiří Kylián to latest works. develop their own style and respected them as colleagues. From the beginning, Cranko Christian Spuck wanted to see new and innovative works next to his own. From the constellation Cassiopeia come the strongest radio waves in the sky next Curiosity and openness to our sun: the remnant of a supernova that exploded millenia ago leaves discerni- All of his successors learned this curiosity ble traces until today. What from the past and openness from him: Marcia Haydée, who still echoes in us years later? This is what commissioned William Forsythe’s Orpheus Christian Spuck asks himself in his crea- and accepted door-slamming spectators as tion for the anniversary, his first Stuttgart well as protesting dancers for it, or later Reid work since his farewell piece Das Fräulein Anderson, who experienced how the initial von S. nine years ago. Coming from the booing for Marco Goecke’s dark, nightmarish John Cranko School, the young artist from 6 7 New/Works New/Works Marburg made an initial foray into contem- sits on her throne in the northern sky as a porary dance in Belgium before returning to constellation, where she is visible all year Stuttgart in 1995. Dos amores was the title round and sends mysterious rays from the of his breakthrough work with the long pen- depths of time. dulums in 1999, and even then it showed the defining elements of the choreographer’s Marco Goecke work: the exciting juxtaposition of baroque and modern, the elegance of the costumes In the beginning, everything about Marco and movements, spiced with a sense of the Goecke’s ballets, costumes, stage and props grotesque, the pictorial power of the overall was black, black, black. The dancers’ arms composition and the sense of proportion fluttered and trembled, one saw mainly the for the architecture of the stage. With Lulu. backs of dancers, the pieces were enigma- Eine Monstretragödie, four years later, he tic in a new aesthetic never seen before. It created the long-awaited new story ballet was strong enough to permanently disturb for a company that had become famous for many spectators, others were fascinated dramatic dance. Again and again, Spuck in disbelieving amazement: after William chooses unusual material from German Forsythe, after the deconstruction of acade- Expressionism or dark Romanticism, taking mic classicism into its individual parts, was inspiration from literature, mythology, films there really anything new in ballet again? or paintings. A love of the grotesque or even At that time, Fritz Höver was the only one the bizarre, an empathy for the outsider and to respond to the many video applications the lonely characterise his pieces. of the young man from Wuppertal and invi- ted him to the Noverre evening in Stuttgart From the depths of time in 2001; today, Goecke’s oeuvre comprises about 80 pieces, he is Artistic Director of Choreographically, Spuck, for all his inclina- the State Theatre Ballet in Hanover and an tion towards dance theatre and the spoken established figure in European dance.