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STÉPHANE BULLION: Be Proud of Me! 4 • D € 6,00 A 8,00 CH Fr.9,00 BE PROUD OF ME www.danceforyou-magazine.com Stéphane BULLION NEUER ERSTER SOLOTÄNZER BEIM STAATSBALLETT BERLIN ALEJANDRO ZUM 60. GEBURTSTAG UWE SCHOLZ VIRELLES GALA DIE ZWEI GESICHTER EINER BALLERINA KSENIA OVSYANICK ZUM VIERTEN MAL WELTMEISTER DMITRY ZHARKOV UND OLGA KULIKOVA DAS INTERNATIONALE TANZMAGAZIN DEUTSCH/ENGLISCH AUSGABE 1/2019 • ISSN 1613 - 8988 88 Tanzbekleidung zu Top-Preisen! Sonderpreise für Tanzschulen. Xuechen Liu & Wentao Li (China), MIBC First Prize Winner, 2018 Photo: Patriciasphotography See you next year! Gerne nehmen wir Anfrage von Tanzgeschäften entgegen: www.miamiibc.com Tel: 0044 1706 362 504 [email protected] D4Y-APRIL'18-FINAL.indd 1 25/04/2018 10:09:34 DANCEforYOU MAGAZINE 1 Editorial Liebe Leserinnen und Leser, kaum ein anderer Tänzer steht wohl derzeit mehr in Rede als er: Carlos Acosta, Kubas schwarzes Tanzjuwel. Nach glanzvoller, knapp drei Jahrzehnte überspannender Karriere, davon 17 Jahre beim Royal Ballet London und dort lange als Principal, tritt er immer wieder mit ungewöhnlichen Aktionen in Erscheinung. Denn vom Royal Ballet mag er zwar 2015 mit seiner Version der „Carmen“, als Solist allgemein 2016 mit einer großen Gala Abschied genommen haben - dem Tanz hat er deshalb längst nicht Valet gesagt. Allein die Zahl prestigeträchtiger Preise, vom Prix de Lausanne mit 16 über den Olivier Award for Outstanding Achievement in Dance bis zum Prix Benois de la Danse und dem Queen Elizabeth II Coronation Award der Royal Academy of Dance, sichert ihm © Johan Persson Foto Carlos Acosta einen Platz im Tanzolymp. Doch Acosta hat darüber hinaus soziale Ambitionen. So gründete er 2016 in Havanna seine Kompanie Acosta Danza mit dem Anspruch eines breitgefächerten, eher modern ausgerichteten Repertoires und rief über eine Stiftung die Acosta Dance Academy ins Leben, die Kindern auch aus armen Verhältnissen den Weg zum Tanz eröffnen soll. Denn Carlos Acosta weiß, was es heißt, aus einfachem Milieu zu stammen und schwarz zu sein. Darüber hat er in der 2007 publizierten Biografie „No Way Home“ bewegend offen berichtet. Gut zehn Jahre später entstand danach ein aufwühlender Film, der seine Laufbahn nachzeichnet und gerade in den Kinos läuft. Man mag nicht glauben, dass einer der bedeutendsten Tänzer seiner Generation vom Vater rigoros in die Tanzausbildung hinein gezwungen werden musste. Als Breaker hatte der Knirps einen bescheidenen Ruf in seinem Viertel am Rande von Havanna, Profifußballer wäre sein Ziel gewesen. Doch es sollte anders kommen, wie Icíar Bollaíns Streifen „Yuli“, Acostas Spitznamen zitierend, bebildert: Der Tanz eroberte schließlich die Seele des Widerspenstigen, machte ihn berühmt. Alle Erfolge rund um den Globus konnten indes seine Sehnsucht nach der Heimat nicht verdrängen. Ihr will er nun zurückgeben, was er dort empfangen hat, eine kostenlose Ausbildung als Knabe aus minder privilegiertem Umfeld. Ob er für sein Projekt aus Kompanie und Akademie Unterstützung vom finanziell ohnehin gebeutelten kubanischen Staat erhält, darf bezweifelt werden. Da nimmt es nicht wunder, dass Acosta nun mit einem weiteren Coup aufwartet. Ab Januar 2020 übernimmt er die Direktion des Birmingham Royal Ballet von David Bintley, der mit der Kompanie seit 1995 ein bemerkenswertes, international beachtetes Repertoire aufgebaut hat und ab Juli 2019 seine Funktion niederlegt. Er empfinde die Berufung als große Ehre, ließ Acosta wissen, und bewundere das Erbe seines Vorgängers. Nun wolle er künftig definieren helfen, was es heiße, eine führende klassische Kompanie im 21. Jahrhundert zu sein. Man darf gespannt sein, mit welchem Spielplan er seinem Ziel, dem Tanz neue Zuschauer zu erobern, näherkommen will. Als Ehemann und Vater mit Wohnsitz auch in England wird er nun zwischen Havanna und Birmingham pendeln, manchmal eben aus der Ferne die Geschicke seiner Kompanie mit assoziierter Schule bestimmen. Vielleicht dient der Job in Birmingham nicht zuletzt auch der Finanzierung des ehrgeizigen Projekts in Havanna. In jedem Fall ist Carlos Acosta ein Ex-Startänzer mit ausgeprägt sozialem Gewissen. Mehr solcher Beispiele wünschte sich, mit herzlichem Gruß, Ihr Volkmar Draeger Besuchen Sie uns...ONLINE Website www.danceforyou-magazine.com Abo-Shop www.danceforyou-magazine.com/abo-subscribe Facebook www.facebook.com/DanceforYouMagazine Twitter twitter.com/DFY_Magazine Digitale Ausgaben erhältlich unter goo.gl/PqGV6V www.danceforyou-magazine.com 2 DANCEforYOU MAGAZINE INHALT CONTENTS PEOPLE STÉPHANE BULLION: Be proud of me! 4. ALESSANDRO BIZZOTTO meets the Paris Opera Ballet Principal dancer KSENIA OVSYANICK: 10. Die zwei Gesichter einer Ballerina HARTMUT REGITZ im Gespräch mit der Ersten Solotänzerin am Staatsballett Berlin ALEJANDRO VIRELLES ist neuer Erster Solotänzer 14. beim Staatsballett Berlin VOLKMAR DRAEGER kannte ihn bereits am Anfang seiner Karriere in Havanna REAL TALK with MANUEL RENARD 18. ARMANDO BRASWELL talks with the new Ballet Master 10. of the Ballett Theater Basel 18. KOLUMNE JAHRESRINGE 26. DAGMAR ELLEN FISCHER fragt: Wo fängt Altern eigentlich an? STEFAN SIXT SPEZIAL 31. Alter schützt vor Armut nicht! 1. Editorial 27./30. News 20. WHAT’S ON? 28-29. INFORUM Der Performance Kalender Tanzausbildung On the Cover: Stéphane Bullion as Solor © Sébastien Mathé Die Fotografen werden namentlich unter dem jeweiligen Artikel genannt. DANCEforYOU MAGAZINE 3 PERFORMANCES UWE SCHOLZ 32. BORIS GRUHL sah die Leipziger Gala zum 60. Geburtstag unter der künstlerischen Leitung von Mario Schröder „Brahms/Balanchine“ 35. DAGMAR ELLEN FISCHER besuchte John Neumeiers erste Premiere der Spielzeit in Hamburg CINDERELLA 36. ALESSANDRO BIZZOTTO reviews two performances of the Paris Opera Ballet production of a classic whose staging looks somehow dated Goyo Monteros „A Midsummernight’s Dream“ 38. in Nürnberg Keine harmlose Träumerei, meint VESNA MLAKAR 40. Verschmutzter Strand unter einer Sonne 32. aus Plastikkanistern ALEXANDRA KARABELAS sah Giuseppe Spotas „Vier Jahreszeiten“ in Mannheim BALLROOM 41. DMITRY ZHARKOV UND OLGA KULIKOVA 41. sind zum vierten Mal Weltmeister UTE FISCHBACH-KIRCHGRABER traf das außergewöhnliche Tänzerpaar WELTTANZPROGRAMM in das Verzeichnis 44. des immateriellen Kulturerbes aufgenommen Ein Kommentar von UTE FISCHBACH-KIRCHGRABER Besuchen Sie uns...ONLINE www.danceforyou-magazine.com ABO-SHOP www.danceforyou-magazine.com/store.html FACEBOOK https://www.facebook.com/DanceforYouMagazine TWITTER https://twitter.com/DFY_Magazine 4 DANCEforYOU MAGAZINE STÉPHANE BULLION BE PROUD OF ME That’s what the star of the Paris Opera Ballet wishes when he is on stage – to be in shape to deserve the roles he is given. Yet he likes taking responsibilities on his shoulders and, while being considered a dream partner, he expects the ballerina dancing with him to be helpful – „her work is essential“, after all. ALESSANDRO BIZZOTTO meets the French Principal dancer for a straightforward chat about good and bad memories, invitations abroad, ballet shoes and impossible wishes, such as having more time. Stéphane Bullion © James BortStéphane DANCEforYOU MAGAZINE 5 PEOPLE Stéphane Bullion in ‚Onegin‘ © Julien Benhamou ‚Onegin‘ Bullion in Stéphane am quite punctual. While lead through the hallways of the Opera Garnier, I found them unnaturally quiet. Maybe it is only because it is early January, the run of performances of “The Lady of the Camellias” is about to end – Stéphane Bullion will dance the last one as Armand tomorrow. I turn left and reach the end of a long passage. As he opens the door of his dressing room, he looks at me almost sheepishly, but with no embarrass- ment. “Stéphane” he only says as we shake hands. “Bonjour. Please come in”. He is an authentic star of ballet. I even think he is one of the male dancers Ithat today can most honestly put something of himself in the characters he dances. Yet Stéphane Bullion does not speak much at the outset – I stand till he invites me to sit on the dark sofa and he takes a seat on the low, thick radiator under the window. I can easily guess it won’t be a difficult conversation, though. The stage misleads – I expected an imposing Rothbart, a sharp-gazed Onegin, an unconcerned Albrecht. It is only now that I realize I was wrong, while Bullion looks at me with an almost curious gaze and patiently waits for me to ask my first question or say anything. After joining the Paris Opéra Ballet at 17, he was promoted to the title of étoile, the highest grade of the company, in June 2010 after his performance as Solor in “La Bayadère”. Often chosen by choreographers when their ballets enter the Paris Opera Ballet’s repertoire, he is Chevalier of Arts and Letters and has even been the star of a book and a film, “24 hours in a man’s life”, in which he featured moving on a beach twenty-four hours in a row. What is your first memory when you joined the Had you had any ballet training Paris Opera Ballet after finishing the school? before coming to Paris? It is about arriving in a place that I didn’t properly know. I joined the Paris Opera Ballet School at 14 and I attended While attending the ballet school, I had come to the Palais only the latest three years here. I had attended a private Garnier just a few times for the défilé. When I joined the ballet school in Lyon before… I still remember very well company, so, the theatre was not familiar at all to me. And going to school in the morning and then having ballet at that time the company was not as well organized as classes in the afternoon. today to welcome its new members – I didn’t know where However, when I got admitted to the Paris Opera Ballet the dressing rooms were, just as an example… though I School, I felt I was in a place where everything was opti- was astonished by finding myself here, dancing every day, mized in order to let us students focus on ballet and learn taking class with Principals and First soloists who had such the best possible way. a huge experience.
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