DOCSLIB.ORG

ENGLISH Edition • N°253 Sylvie Guillem the Final Round

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

the international dance magazine ENGLISH Edition • n°253 TOM 650 CFP) • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; Sylvie Guillem (Euro zone) The Final Round € 4,90 www.ballet2000.com9 10 3 Anna Tsygankova, Matthew Golding – Het Nationale Ballet: “Variations for Two Couples”, c. Hans van Manen (ph. M. Haegeman) 4 Directeur de la publication Direttore responsabile / Editor-in-chief Alfio Agostini la revue internationale de la danse Collaborateurs/Collaboratori/Contributors édition France Erik Aschengreen Leonetta Bentivoglio la rivista internazionale della danza Donatella Bertozzi Valeria Crippa edizione Italia Clement Crisp the international dance magazine Gerald Dowler Elisa Guzzo Vaccarino English edition Marc Haegeman Anna Kisselgoff Kevin Ng Jean Pierre Pastori Olga Rozanova Emmanuèle Rüegger Roger Salas Sonia Schoonejans René Sirvin Isis Wirth Editorial advisor Elisa Guzzo Vaccarino Sylvie Guillem “Technê”, c. Akram Khan Editorial assistant (ph. Rolando Paolo Guerzoni) Cristiano Merlo Traductions/Traduzioni/Translations Simonetta Allder Cristiano Merlo 4 Calendar collaborateur Alain Garanger Collaborateur à la rédaction - web services Luca Ruzza 19 News Chargée de communication et pub. France Anne-Marie Fourcade 28 Maya Plisetskaya Tél. 06.99.55.96.52 [email protected] Abonnements/Abbonamenti/Subscriptions 30 Cover : [email protected] Sylvie Guillem: Life in Progress Publicité / Advertising [email protected] 38 On Stage : Ballet Nice Méditerranée: “En Sol” n° 253 Juin / Giugno / June 2015 Ballet Nice Méditerranée The Royal Ballet: Hofesh Shechter Staatsballett Berlin Ballet de l’Opéra de Bordeaux Danza Contemporánea de Cuba Batsheva Dance Company BALLET 2000 Compañía Nacional de Danza B.P. 1283 – 06005 Nice cedex 01 – F Cristiana Morganti tél. (+33) 09.82.29.82.84 Dorky Park/Costanza Macras Éditions Ballet 2000 Sarl – France Cie Philippe Saire ISSN 2112-2288 Batsheva Dance Company: “The Hole” Commission Paritaire P.A.P. 0718K91919 Stuttgart Ballet Distribution Presstalis, 30 rue R. Wallenberg, The Royal Ballet: Swan Lake 75019, Paris – 01.49.28.70.00 recapito per l’Italia: Ballet2000 - Piazza Statuto 1 - 10122 Torino tel. 011.19.58.20.38 48 BalletTube: Kitri, entrée Reg. Tribunale di Milano 546 - 26.XI.1983 e 177 - 1.III.1990. Distribuzione Italia: Me. Pe. SpA, via E. Bugatti 15, 20142 Milano 49 Multimedia : TV, Web, Dvd, Cinema... Imprimé en Italie/Printed in Italy by Pinelli Printing - Seggiano di Pioltello - Milano 52 On TV www.ballet2000.com e-mail: [email protected] 54 Photo Gallery The Royal Ballet: “Swan Lake” 5 affiche • cartellone • calendar • affiche • cartellone Staatsballett Berlin AUSTRIA 23, 25, 26, 28. VI: La Bayadère – c. M. Petipa (V. Malakhov) – Innsbruck Staatsballett Berlin Tanzsommer Komische Oper Dogana 1, 3, 22, 29. VI, 12, 27. IX: 18-20. VI: Cie Jant-Bi: Afro-Dites Vielfältigkeit – Formen von Stille – c. G. Acogny und Leere – c. N. Duato – 21. VI: Urban Dance Theater Staatsballett Berlin 26, 27. VI: Cloud Gate Dance Company: Rice – c. Lin Hwai- Dresden min Semperoper 2-5. VII: Compagnie DCA: Pa- 12, 17, 19. VI, 3, 7. VII: Im norama – c. P. Decouflé anderen Raum – c. P. Lidberg; Walking Mad – c. J. Inger; Cacti Wien – c. A. Ekman – Dresden Ballet Staatsoper 8. VII: Palucca Hochschule 15. VI: La Sylphide – c. P. Lacotte 5, 8. VI, 5. VII, 9, 11, 17. IX: – Wiener Staastballett Impressing the Czar – c. W. 10, 12. VI: Adagio Forsythe – Dresden Ballet Hammerklavier – c. H. van 26, 28. VI: Le Lac des cygnes Manen; Cacti – c. A. Ekman; – c. M. Petipa, L. Ivanov (S. Bella Figura – c. J. Kylián – Watkin) – Dresden Ballet Wiener Staatsballett 6. VII: Tristan + Isolde – c. D. 28. VI: Nureyev Gala – Wiener Dawson – Dresden Ballet Staatsballett 24, 27. IX: Theme and 18, 22. IX: Don Quichotte – c. Variations – c. G. Balanchine; R. Nureyev – Wiener Staatsballett Neue Suite – c. W. Forsythe; Volksoper Sie war Schwarz – c. M. Ek – 3, 11. VI: Giselle Rouge – c. B. Dresden Ballet Eifman – Weiner Staatsballett Festspielhaus Hellerau 2, 9, 17. VI: “Junge Talente des 4-7. VI: creation – c. F. Mazliah Wiener Staatsballetts II” – Dresden Ballet 6, 19, 25, 27. VI: Carmina Burana – c. V. Orlic; Nachmittag eines Duisburg Fauns – c. B. Nebyla; Boléro – Theater der Stadt c. A. Lukacs – Wiener 19, 26. VI: Illusion – c. Young Staatsballett Soon Hue; Lonesome George – c. M. Goecke; Voices Borrowed Olga Esina, Kirill Kourlaev – Wiener Staatsballett: “Giselle Rouge”, – c. A. Miller – Ballett der BELGIQUE c. Boris Eifman (ph. A. Taylor) Deutschen Oper am Rhein 5, 13, 19, 25. VII: 7 – c. M. Anvers Ballet Pause-Silence – c. J. Kylián – Schläpfer – Ballett der Theater’t Eilandje 19, 20, 27. IX: Le Lac des cygnes Staatsballett Berlin Deutschen Oper am Rhein 5, 6, 7. VI: Dialogue – c. J. – c. M. Petipa, L. Ivanov – Prague 13, 14. VII: Staatlichen Brambants; In Flanders Fields National Theatre Ballet Balletschule Berlin Düsseldorf – c. R. Amarante; Forgotten Land National Theatre Deutsche Oper Opernhaus – c. J. Kylián; Der Grüne Tisch 16, 17. VI, 26, 29. IX: Brel; 5, 7. VI, 30. IX: La Belle au bois 21, 23, 25. VI: Symphonie g- – c. K. Jooss – Ballet Royal de Vysotsky; Kryl/Solo for Three dormant – c. N. Duato – Moll – c. M. Schläpfer; ... adónde Flandres – c. P. Zuska – Prague National Ballet Bruxelles 20. VI: Czech Ballet Symphony Théâtre de la Monnaie II – c. J. Kylián – Prague National 29. VI-4. VII: Sidi Larbi Ballet Cherkaoui, Damien Jalet: Babel 2, 4. IX: Krabat – c. J. Kodet – (words) Prague National Theatre Ballet Estate Theatre CZECH REPUBLIC 10, 26. VI, 6. IX: Valmont – c. L. Vaculík – Prague National Ballet Prague DEUTSCHLAND State Opera 12, 14. VI, 10, 12. IX: La Bayadère – c. M. Petipa (J. Torres) Berlin – Prague National Theatre Ballet Schiller Theater 28, 29, 30. VI: Romeo and Juliet 13. VI: White Darkness; – c. P. Zuska – National Theatre Creation – c. N. Duato; Click- 6 calendar • affiche • cartellone • calendar • affiche vas, Siguiriya? – Capricho Flamenco – c. B. L. Merki; Rättika – c.M. Ek – Ballett der Deutschen Oper am Rhein 3, 6. VI: verwundert seyn – zu sehn; ein Wald, ein See – c. M. Schläpfer; Moves – c. J. Robbins – Ballett der Deutschen Oper am Rhein Frankfurt Bockenheimer Depot 18-21. VI: creation – c. F. Mazliah – The Forsythe Company Hamburg Staatsoper 3, 4, 5, 6. VI, 2. VII: Tatjana – c. J. Neumeier – Hamburg Ballet 11, 12. VI, 4. VII: Shakespeare Dances – c. J. Neumeier – Hamburg Ballet 28, 30. VI, 30. IX: Peer Gynt – c. J. Neumeier – Hamburg Ballet 29. VI: Romeo and Juliet – c. J. Neumeier – Hamburg Ballet 1. VII: Napoli – c. A. Bournonville Courtney Richardson, Fabien Voranger – Dresden Ballett: “Tristan und Isolde”, c. David Dawson (L. Riggins) – Hamburg Ballet (ph. I. Whalen) 3. VII: The Little Mermaid – c. J. Neumeier – Hamburg Ballet Hamburg Ballet Staatsballett Wuppertal 5. VII: Tod in Venedig – c. J. 16, 23. VI, 4. VII: Paquita – c. A. Opernhaus Neumeier – Hamburg Ballet Leipzig Ratmansky – Bayerisches 13, 14, 15, 17, 18, 19. VI: 7, 8. VII: Houston Ballet: Oper Staatsballett Vollmond – c. P. Bausch – Tapestry; Maninays; Velocity – 20, 21, 26, 27, 28. VI, 2, 3, 4, 5. 19. VI: Artifact II – c. W. Forsythe; Tanztheater Wuppertal c. S. Welch VII: West Side Story – c. J. The Exiles – c. J. Limón; Zugvögel 25, 26, 27, 29, 30. VI: Kontakthof 9. VII: Winterreise – c. J. Robbins – Leipziger Ballett – c. J. Kylián – Bayerisches – c. P. Bausch – Tanztheater Neumeier, Hamburg Ballet Staatsballett Wuppertal 10. VII: Giselle – c. J. Coralli, J. München 7. VII: Ein Sommernachtstraum Perrot, M. Petipa (J. Neumeier) Nationaltheater – c. J. Neumeier – Bayerisches ESPAÑA – Hamburg Ballet 12. VI, 21, 29. IX: Metric Dozen; Staatsballett 11. VII: Othello –c. J. Neumeier In A Landscape; Unitxt – c. R. Prinzregententheater – Hamburg Ballet Siegal – Bayerisches 10, 11, 12. VII: Das Triadische Barcelona 12. VII: Nijinsky Gala XLI Staatsballett Ballett – c. G. Bohner; Le Sa- Gran Teatre del Liceu 20, 22, 24, 27. IX: A Cinderella 14. VI, 1. VII: Onegin – c. J. cre du printemps – c. M. 23, 24, 25, 26. VI: Ballet Nacional Story –c. J. Neumeier – Cranko – Bayeriches Wigman – Bayeriches de España: Sorolla Staatsballett Festival Grec Teatre Grec Bayerisches Staatsballett: “Le Sacre du printemps”, c. Mary Wigman Stuttgart 1, 2. VII: La Veronal: Vorònia – (ph. W. Hoesl) Opernhaus c. M. Morau 2, 4, 17, 19. VI: A Tramway Antic Teatre Named Desire – c. J. 2.-5. VII: Clara Tena, Ohiana Neumeier – Stuttgart Ballet Altube: Este lugar entre: Prethink 6, 7, 9. VI: Onegin – c. J. Cranko and Free Action – c. B. Fernández – Stuttgart Ballet 17. VII: Ritme en el Temps: 11, 12, 14, 18, 20, 23, 26, 27. Faintasies d’un temps VI: Konzert for Flöte und Harfe; Mercat de Les Flors Aus Holbergs Zeit; Opus1; 3-5. VII: Jordi Cortés/Associació Initialen R.B.M.E. – c. J. Cranko Kiakahart: Fuck-in-Progress – Stuttgart Ballet 6-8. VII: Cía Sol Picó: W.W. (We 4, 7, 9, 11, 12, 16. VII: L’Oiseau Women) de feu – c. S. L. Cherkaoui; 14, 15. VII: Peeping Tom: À L’Histoire du Soldat – c. D. Volpi; louer Le Chant du Rossignol – c. 17, 18. VII: Noname Sosu, M. Goecke – Stuttgart Ballet Sungsoo Ahn Pick-up Group, 22,-29. VII: La Belle au bois Company SIGA: Not I; Body dormant – c. M. Petipa – Concerto; Rest Stuttgart Ballet 22, 23. VII: María Muñoz, Pep 7 affiche • cartellone • calendar • affiche • cartellone Revelations – c. A. Ailey 11. VII (2): Alvin Ailey American Dance Theater: Polish Pieces – c. H. van Manen; After the Rain Pas De Deux – c. C. Wheeldon; Pas de Duke – c. A. Ailey; The Hunt – c. R. Battle; Grace – c. R. K. Brown 13. VII: Alvin Ailey American Dance Theater: LIFT – c. A. Barton; Awassa Astrige/Ostrich – c. A. Dafora; Bad Blood – c. U. Dove; Minus 16 – c. O. Naharin 14. VII: Alvin Ailey American Dance Theater: Night Creatu- re; Pas de Duke; The River; Revelations – c.
Recommended publications
  • The Prima Ballerinas of the Kirov

    The Prima Ballerinas of the Kirov

    Philippe Jordan MD CLINIC 23 23 Elystan St, SW33NT.London. Feb 2017 THE PRIMA BALLERINAS OF THE KIROV Диана Вишнёва DIANA VISHNEVA C A T A L O G U E PHILIPPE JORDAN France 1962 The Wandering Banker, Moscow. To survive in the harsh reality of Moscow, the financier Philippe Jordan spends his evenings drawing Indians, creating ballerinas, and meeting oligarchs. And it helps! Philippe is quite an unconventional banker. During working hours he is deals with derivatives, futures and options, but in his private time he makes paintings on glass, and art from paper. “It seemed to me that there was always some magic at the Ballet: the music played, the notes came alive, the ballerinas flew in the air” Philippe was born in Strasbourg, and his stepfather, Robert Grossmann, not only was the vice- mayor of the town of Strasbourg, but also a long-term associate of Nicolas Sarkozy – “the man who thirty years ago taught the future French president the art of public speaking.” The former president of France also has one of Jordan’s works: a courier delivered it, and after a few days, Philippe received a letter of thanks. Unconventional by nature, again in 2010, Philippe invited his friend in Moscow, the French author Michel Houellebecq, who once compared Philippe’s works to those of Giorgio de Chirico. The story of their friendship is downright amazing. After reading the novel "The Map and the Territory," Jordan was shocked - the book’s main character was so much like him. He, like Jordan, met with Abramovich. And also painted a portrait of Houellebecq.
  • AND FRIENDS Milano

    AND FRIENDS Milano

    presenta ROBERTO AND FRIENDS milano · 29 / 30 novembre 2016 TeaTro degli arcimboldi © Giovanni Gastel © Giovanni ROBERTO BOLLE CAST AND FRIENDS A MILANO UN VIAGGIO IMPERDIBILE NELLA BELLEZZA DELLA DANZA Gala Roberto Bolle and Friends si sono tra- ROBERTO BOLLE sformati nelle mani di Roberto Bolle, qui nei TEatRO ALLA SCALA, MILANO panni non solo di interprete, ma anche di AMERICAN BALLET THEatRE, NEW YORK direttore artistico, in un potente strumento culturale di diffusione della danza, attirando ogni anno migliaia di appassionati e non. Bolle, forte della sua intensissima esperienza ALICIA AMATRIAIN internazionale, è riuscito ogni volta a ricrea- STUTTGART BALLETT, STOCCARDA re per ognuno di questi appuntamenti uno spettacolo magico, riunendo alcuni dei più importanti ballerini del mondo e dando vita Icon loro a programmi vivaci, sorprendenti, che hanno TIMOFEJ ANDRIJASHENKO saputo coinvolgere pubblici eterogenei e mai così TEatRO ALLA SCALA, MILANO vasti finora. Dai grandi classici, alle coreografie più nuove, il Roberto Bolle and Friends ha radunato ogni anno il meglio della danza del mondo, offrendo una possibi- CHRISTIAN BAUCH lità culturale rara e prestigiosa e infrangendo alcuni SEMPEROPER BALLET, DRESDA tabù che costringevano il balletto nella definizione di arte di nicchia. Anche il programma, pensato per quest’attesissimo appuntamento di fine novembre al Teatro degli Ar- OSIEL GOUNEO cimboldi di Milano, ha trovato nell’accostamento BAYERISCHES STAATSBALLETT, MONACO del repertorio classico – con titoli celeberrimi come Il Corsaro, Don Chisciotte e Diana e Atteone – a quello più moderno e contemporaneo – Vertigo Maze e Duet from New Suite – la sua cifra distintiva MARIA KOCHETKOVA e inimitata. Ma il programma, già così ricco, presenta SAN FRANCISCO BALLET, SAN FRANCISCO anche importanti novità.
  • BEETHOVEN-BALLETS Hans Van Manen / Mauro Bigonzetti 3 Aufbruch!

    BEETHOVEN-BALLETS Hans Van Manen / Mauro Bigonzetti 3 Aufbruch!

    Triple Bill BEETHOVEN-BALLETS Hans van Manen / Mauro Bigonzetti 3 Aufbruch! Triple Bill BEETHOVEN- BALLETS Hans van Manen / Mauro Bigonzetti Presented by Adagio Hammerklavier Einssein Große Fuge 3 Aufbruch! Triple Bill BEETHOVEN- BALLETS Hans van Manen / Mauro Bigonzetti Presented by Adagio Hammerklavier Einssein Große Fuge 4 5 Ta Ta Taaaa – Dance! Ta Ta Taaaa – Dance! TA TA TAAAA – DANCE! Beethoven and ballet, it was said for a long time, are a bad fit. The choreographers Mauro Bigonzetti and Hans van Manen prove the opposite with their highly individual works set to the music of this acclaimed genius. There are statements which develop a life Olympus of Viennese classical music, Haydn of their own. Such is the case with this sen- and Mozart – rejected appointments at prin- tence by the great choreographer George cely courts in order to be free and subjective Balanchine: “Dance should leave Beethoven in his art. The consummate, ultimate artist well alone – there’s no choreographing to to whom nothing need be added – not even his music.” It would seem that these words the dance. The Ta ta taaaa of his Fifth Sym- have been echoing between stages and phony or the beginning of his piano piece studios for decades, for indeed: there are Für Elise have become acoustic knowledge far fewer pieces to Beethoven than to the world-wide. Which is exactly what George music of other composers. John Cranko, for Balanchine was referring to: “While listening example, did not choreograph a single ballet to composers like Beethoven and Brahms, to Beethoven, John Neumeier did not stage every listener has his own ideas, paints his his first full-length Beethoven ballet until own picture of what the music represents … fifty years after his debut.
  • 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
  • Cuban National Ballet: 65 Years on Stage

    Cuban National Ballet: 65 Years on Stage

    Cuban National Ballet: 65 Years on Stage Cubans are celebrating the 65th anniversary of one of the top five ballet companies, an ensemble that has gained international prestige and won awards and recognition in the world throughout the years. Alicia, Fernando and Alberto Alonso founded the Alicia Alonso Ballet with an opening show at Havana’s Auditorium Theater on October 28th, 1948. The company’s opening performance included a cast made up of dancers from the Cuban Pro-Arte Musical Society and dancers of the New York based American Ballet Theater. Fernando Alonso, his wife Alicia and his brother Alberto Alonso thus got involved in the historic event of setting up the Alicia Alonso Ballet, which will later be known as Cuban Ballet and currently as Cuban National Ballet Company. The Alicia Alonso Academy was created by Fernando and Alicia in 1950, planting the seed of what will later be considered one of the most outstanding results of Cuban Ballet: the Cuban Ballet School. At the academy which was aimed at training the first generations of professional Cuban ballet dancers, the Alonso’s conducted a serious research aimed at creating a unique teaching method that, with the passage of time, has led to what is known today as the internationally recognized and praised Cuban ballet school, whose style was discovered and singled out for the first time by renowned British dance critic and professor, Arnold Haskell, in the 1960’s. In the period between 1948 and 1956, Fernando Alonso knew how to face the apathy and misunderstandings of the Cuban governments which denied the most basic support for cultural efforts such as the Cuban ballet.
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)

    Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)

    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
  • State Ballet of Georgia

    State Ballet of Georgia

    საქართველოს სახელმწიფო STATE BALLET ბალ ე ტი OF GEORGIA საბალეტო სეზონის დახურვა Ballet SeaSon CloSIng ნინო ანანიაშვილი და საქართველოს სახელმწიფო ბალეტი Nina Ananiashvili and State Ballet of geoRgIa გალა-კონცერტი gala-ConCeRt საბალეტო დასის სამხატვრო ხელმძღვანელი Ballet Company aRtIStIC DIReCtoR ნინო ანანიაშვილი nIna ananIaShvIlI ივლისი JULY 2016 9 19:00 No1(26) 2016 ხუთი საპრემიერო სპექტაკლი ოთხ თვეში – ასე Arabesque დაიწყო განხლებული ოპერის თეატრში საბალეტო Ballet Magazine `arabeski~ Jurnali baletze დასის შემოქმედებითი ცხოვრება და ბუნებრივია, „არაბესკის“ ამ ნომრის მთავარი თემები ამ პრემი- ერებისგან მიღებული შთაბეჭდილებებია. „გორდას“ აღდგენა და მისი ახალი რედაქცია, რო- გორც დამდგმელი ჯგუფი ფიქრობს, ვახტანგ ჭაბუკი- ანის შემოქმედების, ქართული ბალეტის ისტორიისა და დღევანდელობის უწყვეტობისკენ გადადგმული ნაბიჯია; „გედების ტბის“ და „ფასკუნჯის“ისტორიული სპექტაკლების დადგმა კი კლასიკური საბალეტო მემკვიდრეობისადმი პატივის მიგებაა, რითაც ყო- ველთვის გამორჩეულია ნებისმიერი საბალეტო კომ- პანია. მაგრამ რეპერტუარში მხოლოდ კლასიკა არაა წარმოდგენილი – დაიდგა კილიანის „სარაბანდა“ და სრულად იქნა წარმოდგენილი მისი ქორეოგრაფიის პროგრამა, ნაჩვენები იქნა ბალანჩინის „სიმფონია დო მაჟორი“ და რეპერტუარში აქამდე არსებული ქორეოგრაფის კიდევ ორი ბალეტი. ივნისის ბოლოს მაყურებელს საბალეტო დასი zaqaria faliaSvilis saxelobis Tbilisis operisa da baletis profesiuli saxelmwifo საერთაშორისო პროექტზე იწვევს – ნინო სურგუ- Teatris sabaleto dasis Jurnali ლაძის საერთაშორისო საქველმოქმედო ფონდი MAGAZINE ABOUT THE BALLET COMPANY OF THE TBILISI Z. PALIASHVILI OPERA AND BALLET PROFESSIONAL STATE THEATRE „ნატვრის ხე“, თბილისის ოპერის თეატრთან gamodis weliwadSi orjer Issued twice a year ერთად, მნიშვნელოვან პროექტს ახორციელებს. პროგრამაში ნინო როტას სუიტაზე (ფედერიკო ფე- თეატრის სამხატვრო საბალეტო დასის ლინის ფილმიდან „La Strada“) დადგმული ბალეტი ხელმძღვანელი ხელმძღვანელი იქნება, სადაც ნინო ანანიაშვილი და საბალეტო დავით კინწურაშვილი ნინო ანანიაშვილი დასი მიიღებს მონაწილეობას. ამ და სხვა მნიშვნე- Artistic Manager Artistic Director of ლოვან ამბებზე მომავალ ნომერში მოგითხრობთ.
  • Gp 3.Qxt 7/14/17 2:07 PM Page 1 Page 4

    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.
  • The Long Term You Cannot Afford

    The Long Term You Cannot Afford

    e LONG TERM you caot aÿord. on e distribuon of e TOXIC INVOCATIONS .– WITH Edna Bonhomme BPoC Environmenta and Cimate Justice Coective (Imeh Ituen and Rebecca Abena Kennedy-Asante) Center for Intersectiona Justice (Emiia Roig) Yoanda Ariadne Coins Discard Studies (Aex Zahara and Josh Lepawsky) Angea Fournoy The Forest Curricuum (Pujita Guha and Abhijan Toto) Hazardous Traves (Ayushi Dhawan, Maximiian Feichtner and Simone Müer) Hyoung-Min Kim and Gabrie Gaindez Cruz Jessika Khazrik Laboratory for Aesthetics and Ecoogy (Ida Bencke) Latedjou Liping Ting Mother the Verb (Ivan “Ivy” Monteiro) Franziska Pierwoss Raqs Media Coective (Shuddhabrata Sengupta) Matana Roberts Huda Rós Guðnadóttir Tomás Saraceno and the Aerocene Foundation Aexis Shotwe Stephan Thierbach Françoise Vergès Wearebornfree! Empowerment Radio (Moro Yapha) XR Extinction Rebeion (Kate Sagovsky) among others CURATORS Antonia Aampi Caroine Ektander CO¨CURATORS Jasmina A-Qaisi Kamia Metway ARTISTIS DIRECTOR Bonaventure Soh Bejeng Ndikung PROJECT TEAM Monioa Iupeju António Pedro Mendes Oa Zieińska CURATORIAL ASSISTANT Mahnoor Zehra Lodhi MANAGEMENT Lema Sikod Lynhan Baatbat-Hebock COMMUNICATION Anna Jäger GRAPHIC DESIGN Esa Westreicher Lii Somogyi SOUND ENGINEER Kay Bennet Kruthoff LIVE STREAM Boiing Head The project is funded by Hauptstadtkuturfonds and the Foundation for Arts Initiatives. With additiona support by the Mondriaan Fund, Goethe-Institut / Max Mueer Bhavan Kokata, Goethe Institut Pakistan, White Space Beijing, The Visua Arts Fund Iceand, DAAD Artists-in-Berin Program and the Berin Senate Department for Cuture and Europe. SAVVY Contemporary T Laboratory of Form-Ideas THE LONG TERM YOU CANNOT AFFORD. ON THE DISTRIBUTION OF THE TOXIC is the third chapter of SCHEDULE our ong-term investigation THE INVENTION OF SCIENCE.
  • The Annual 12 Night Party

    The Annual 12 Night Party

    President: Vice President: No. 485 - December 2013 Simon Russell Beale CBE Nickolas Grace Price 50p when sold Cutting the cake at the Vic-Wells’ 12th Night Party 2011 - Freddie Fox 2012 - Janie Dee 2013 - Clive Rowe ... but who will be there in 2014 to do this important operation? Why not come along and find out? As you can see, there is a very special cake made for the occasion and the guests certainly enjoy the ceremony. We make sure that everybody will get a slice to enjoy. Don’t be left out, book now! The Annual 12th Night Party Our annual Twelfth Night Party will be held at the Old Vic on Saturday, 4th January 2014 from 5.00pm to 6.30pm in the second circle bar area. Tickets are £6 for Members and £7.50 for Non-Members. Please write for tickets, enclosing a stamped, self-addressed envelope, to: Ruth Jeayes, 185 Honor Oak Road, London SE23 3RP (0208 699 2376) Stuttgart Ballet at Sadler’s Wells Report by Richard Reavill The Stuttgart Ballet is one of the world’s major international ballet companies, but it does not often visit the UK. It did make a short trip to Sadler’s Wells in November with two p r o g r a m m e s a n d f i v e performances over four days. The first one, Made in Germany, featured excerpts from works choreographed in Germany for t h e c o m p a n y . T h o u g h presented in three groups with two intervals, (like a triple bill), there were thirteen items, mostly pas-de-deux and solos, and only one piece, given last, for a larger group of dancers.
  • World Ballet Day 2014

    World Ballet Day 2014

    GLOBAL FIRST: FIVE WORLD-CLASS BALLET COMPANIES, ONE DAY OF LIVE STREAMING ON WEDNESDAY 1 OCTOBER www.roh.org.uk/worldballetday The A u str a lia n B a llet | B o lsho i B a llet | The R o y a l B a llet | The N a tio n a l B a llet o f C a n a d a | S a n F r a n c isc o B a llet T h e first ev er W o r ld B a llet D a y w ill see an u n p rec ed en ted c ollab oration b etw een fiv e of th e w orld ‘s lead in g b allet c om p an ies. T h is on lin e ev en t w ill tak e p lac e on W ed n esd ay 1 O c tob er w h en eac h of th e c om p an ies w ill stream liv e b eh in d th e sc en es ac tion from th eir reh earsal stu d ios. S tartin g at th e b egin n in g of th e d an c ers‘ d ay , eac h of th e fiv e b allet c om p an ies œ The A u str a lia n B a llet, B o lsho i B a llet, The R o y a l B a llet, The N a tio n a l B a llet o f C a n a d a an d S a n F r a n c isc o B a llet œ w ill tak e th e lead for a fou r h ou r p eriod stream in g liv e from th eir h ead q u arters startin g w ith th e A u stralian B allet in M elb ou rn e.
  • Alessandra Ferri

    Alessandra Ferri

    DANSE Alessandra Ferri 20.15 dimanche 26 octobre 2003 Contact presse : Frédérique Champs / Vanessa Lassaigne - 01 55 00 70 45 / 44 / [email protected] Retrouvez les dossiers de presse en ligne sur www.artepro.com Alessandra Ferri Coproduction : ARTE France, Telmondis (France, 2003 – 25 min) « Elle est ravissante, son sourire est ir résistible. C’est une créature de rêve comme peuvent l’être les italiennes qui ont la grâce et l’élégance des gens du peuple… Quand elle apparaît, elle a ce côté mystérieux et captivant qui nous séduit d’emblée… C’est une danseuse superbe avec des jambes extraordinaires et des pieds magnifiques.» Roland Petit Ballerine italienne, aujourd’hui à l’apogée de son art, Alessandra Ferri « prima ballerina- étoile » de la Scala de Milan, est considérée comme l’une des plus grandes danseuses classiques internationales. Elle interprète les grands chorégraphes tel que George Balanchine, Marius Petipa, Kenneth Mac Millan, Roland Petit. Alessandra Ferri a très vite été sollicitée par les scènes internationales. Elle fait ses débuts de soliste au Royal Ballet de Londres où le chorégraphe Kenneth MacMillan crée pour elle plusieurs rôles (1983-1895), puis elle est invitée par Mikhaïl Baryshnikov – alors directeur de l’American Ballet Theatre à New York (jusqu’en 1990) pour être sa partenaire. Elle poursuit sa carrière de « Guest artist » avec l’American Ballet Theatre, mais aussi avec Roland Petit et le Balletto Argentino de Julio Bocca. 2 Cet hommage à Alessandra Ferri se compose de cinq séquences : trois extraits de ballets filmés (Roméo et Juliette de Kenneth MacMillan, Le Diable amoureux de Roland Petit, La Somnambule de George Balanchine) et deux courts métrages inédits réalisés par Fabrizio Ferri (Ca r m e n de Roland Petit et Pr é l u d e de Heinz Spoerli).