Northern Ballet
"Cleopatra" - Schönberg / Nixon
суббота, 26 февраля 2011 г.
пятница, 25 февраля 2011 г.
Performances
"Стасик"
"Slice to Sharp" - Бибер & Вивальди / Эло
"Па де Катр" - Пуни / Долин
Кретова / Крамаренко / Хамзина / Кардаш
"Маленькая смерть. Шесть танцев" - Моцарт / Килиан
"Slice to Sharp" - Бибер & Вивальди / Эло
"Па де Катр" - Пуни / Долин
Кретова / Крамаренко / Хамзина / Кардаш
"Маленькая смерть. Шесть танцев" - Моцарт / Килиан
среда, 23 февраля 2011 г.
Notes
Wendy Perron on Trisha Brown ("Covering the Trisha Brown Ground"):
"If I wanted to do painting or dance I was on the border between the two up to the accumulaton pieces, which was when I really entered the world of dance." And i would say that, although those accululation pieces had a big impact (both Bill T. Jones and Ohad Naharin have used the accululation form), her real impact in dance has been the lush, river-with-tributaries vocabulary of movement that has replaced the whole concept of ballet's épaulement or modern dance's contraction and release. You now see echoes of her gurshing-water way of moving everywhere.
"If I wanted to do painting or dance I was on the border between the two up to the accumulaton pieces, which was when I really entered the world of dance." And i would say that, although those accululation pieces had a big impact (both Bill T. Jones and Ohad Naharin have used the accululation form), her real impact in dance has been the lush, river-with-tributaries vocabulary of movement that has replaced the whole concept of ballet's épaulement or modern dance's contraction and release. You now see echoes of her gurshing-water way of moving everywhere.
вторник, 22 февраля 2011 г.
Notes
Alastair Macaulay on Merce Cunningham’s “Septet” ("Ridding a Moody Cunningham Work of Ambiguity, One Gesture at a Time"):
“Septet,” especially its last quartet and sextet, showed that this was a very different work. Many ideas about expression and tradition are being attempted here. The final chain dance always make me think of Matisse’s “Danse” even though it shows a line and not a ring, and the processional exit suggests (as so often with Cunningham) that the movement will continue out of sight.
“Septet,” especially its last quartet and sextet, showed that this was a very different work. Many ideas about expression and tradition are being attempted here. The final chain dance always make me think of Matisse’s “Danse” even though it shows a line and not a ring, and the processional exit suggests (as so often with Cunningham) that the movement will continue out of sight.
понедельник, 21 февраля 2011 г.
Notes
Ms. Da Fonseca-Wollheim on Baroque Dance ("Stepping Through History"):
"Remember, you are your cosmos!" their teacher called out as they advanced and retreated to the quiet strains of lute music. "You are taking that sphere with you when you move."
...
Just as in Renaissance theory the proportions of the human body give rise to perfect geometric shapes, the Baroque dancer moved inside an invisible sphere measured by the extension and movement of the limbs. "I think of the feet as almost fate," she said, demonstrating the Baroque association of the upper body with the heavens, and the feet and legs with the earth. "They show where you come from."
...
treatises on dance, theater and rhetoric, many written by Jesuit priests for whom the purpose of a dramatic ballet was to move the soul.
"Remember, you are your cosmos!" their teacher called out as they advanced and retreated to the quiet strains of lute music. "You are taking that sphere with you when you move."
...
Just as in Renaissance theory the proportions of the human body give rise to perfect geometric shapes, the Baroque dancer moved inside an invisible sphere measured by the extension and movement of the limbs. "I think of the feet as almost fate," she said, demonstrating the Baroque association of the upper body with the heavens, and the feet and legs with the earth. "They show where you come from."
...
treatises on dance, theater and rhetoric, many written by Jesuit priests for whom the purpose of a dramatic ballet was to move the soul.
Notes
Scott Timberg on collaboration of Martha Graham and Isamu Noguchi ("Martha Graham and Isamu Noguchi meshed their contrasting talents"):
"Graham was looking for a style of movement that revealed primal expression," says Eilber. "She took body language and aestheticized it, revealing those human essentials, without decorating them.
...
"There was a light touch to what he [Noguchi] created, that may have allowed that collaboration to function for as long as it did," says Lyford. "The way the objects blended into the bodies of the dancers. That's not typically the way the way the 'master artist' would work. He let it flow."
"Graham was looking for a style of movement that revealed primal expression," says Eilber. "She took body language and aestheticized it, revealing those human essentials, without decorating them.
...
"There was a light touch to what he [Noguchi] created, that may have allowed that collaboration to function for as long as it did," says Lyford. "The way the objects blended into the bodies of the dancers. That's not typically the way the way the 'master artist' would work. He let it flow."
воскресенье, 20 февраля 2011 г.
...Siobhan Burke on Ohad Naharin...
Siobhan Burke on Ohad Naharin ("Gaga From the Source")
Ohad Naharin ... may be today’s most widely worshiped guru of modern dance, thanks to Gaga, the sensation-driven, imagery-guided movement language that he began developing in the 1990s.
“Keep it alive, keep it alive,” the teacher will say. “Make floating your default.” The goal (or one of them) is to achieve a state of readiness, in which the body is available to do anything at any time. Stillness is off limits. “Make the flesh soft.” “Enjoy asymmetry.” “Collapse into water.” “Collapse up.” “Receive movement from far away, from outside the walls of this room.”
There are no mirrors in Gaga.
We experimented with one vivid image, feeling, or word after another. Erupting into little tremors, we explored the difference between shaking (“what someone else does to you”) and quaking (“what you do to yourself”). We imagined a dense ball gliding through the cavities of our pelvis, torso, neck, and limbs. We slapped our own bodies all over with increasing force as we counted down from 10. (“It’s very important that you feel a sting,” Ohad said.)
We did tendus, ronde de jambes, pliés, developés, battements, but never with the intention of reaching a static form, always widening our reach, searching for more space between our bones, inside our joints. When we became too stiff, too still, Ohad gave us a brief lesson in worrying, then letting worry slip away.
“finding the pleasure in effort,” one of Gaga’s guiding principles
Ohad Naharin ... may be today’s most widely worshiped guru of modern dance, thanks to Gaga, the sensation-driven, imagery-guided movement language that he began developing in the 1990s.
“Keep it alive, keep it alive,” the teacher will say. “Make floating your default.” The goal (or one of them) is to achieve a state of readiness, in which the body is available to do anything at any time. Stillness is off limits. “Make the flesh soft.” “Enjoy asymmetry.” “Collapse into water.” “Collapse up.” “Receive movement from far away, from outside the walls of this room.”
There are no mirrors in Gaga.
We experimented with one vivid image, feeling, or word after another. Erupting into little tremors, we explored the difference between shaking (“what someone else does to you”) and quaking (“what you do to yourself”). We imagined a dense ball gliding through the cavities of our pelvis, torso, neck, and limbs. We slapped our own bodies all over with increasing force as we counted down from 10. (“It’s very important that you feel a sting,” Ohad said.)
We did tendus, ronde de jambes, pliés, developés, battements, but never with the intention of reaching a static form, always widening our reach, searching for more space between our bones, inside our joints. When we became too stiff, too still, Ohad gave us a brief lesson in worrying, then letting worry slip away.
“finding the pleasure in effort,” one of Gaga’s guiding principles
Notes
Elissa Blake on Emmanuel Gat ("Make the first move")
Gat asked each dancer to create a 15-second phrase of movement. Then he asked the other dancers to translate it. "Like translating French into English. It has the same meaning but it is a completely different language," Gat says. "If you have very good dancers, like these here, with an artistic weight, you get a very good result.
"I don't interfere at all. Then, later, I will shape it and give it a choreographic vision."
"I've got to a point where all of the movement is generated by the dancers, so I can turn my attention to the music," he says. "It's really interesting for me to see how similar the logic and the tools are between music and dance.
Gat asked each dancer to create a 15-second phrase of movement. Then he asked the other dancers to translate it. "Like translating French into English. It has the same meaning but it is a completely different language," Gat says. "If you have very good dancers, like these here, with an artistic weight, you get a very good result.
"I don't interfere at all. Then, later, I will shape it and give it a choreographic vision."
"I've got to a point where all of the movement is generated by the dancers, so I can turn my attention to the music," he says. "It's really interesting for me to see how similar the logic and the tools are between music and dance.
суббота, 19 февраля 2011 г.
Notes
Judith Mackrell on NY's 60's ("How the 60s New York arts scene revolutionised dance")
All the issues that so preoccupied Rauschenberg, Rainer and their peers, such as the blurred divide between artist and performer, the relationship between body and space, the possibility of turning gesture into art, remain provocatively alive in the contributions to Move
All the issues that so preoccupied Rauschenberg, Rainer and their peers, such as the blurred divide between artist and performer, the relationship between body and space, the possibility of turning gesture into art, remain provocatively alive in the contributions to Move
четверг, 17 февраля 2011 г.
вторник, 15 февраля 2011 г.
Notes
Alastair Macaulay on SL ("A ‘Swan’ Of Complex Shades"):
There is no sentimentality to Ms. Mearns’s Odette. She doesn’t make the widespread mistake of looking searchingly into Siegfried’s face as he unfolds her at the start of the “White Swan” pas de deux; the drama begins with her reluctance even to meet his gaze. During this pas de deux, however, she takes one fleeting glance into his eyes, and then another, and each is a punctuation mark that perfectly illustrates the gradual progress of what her dancing has already demonstrated. Every time she withdraws from his arms, we understand her diffidence; every time she returns to him, we feel the courage and hope that motivate her.
There is no sentimentality to Ms. Mearns’s Odette. She doesn’t make the widespread mistake of looking searchingly into Siegfried’s face as he unfolds her at the start of the “White Swan” pas de deux; the drama begins with her reluctance even to meet his gaze. During this pas de deux, however, she takes one fleeting glance into his eyes, and then another, and each is a punctuation mark that perfectly illustrates the gradual progress of what her dancing has already demonstrated. Every time she withdraws from his arms, we understand her diffidence; every time she returns to him, we feel the courage and hope that motivate her.
воскресенье, 13 февраля 2011 г.
Notes
Verdy encouraged Hyltin [in "La Source"] to make a movement "less modern -– it's still a little romantic. She repeatedly emphasized the épaulement -– the crucial positioning of the upper body -- that each step required, and offered insights from her years of experience with the ballet, such as "deploy the roof of your hand" and "lift the sole of your foot -– it's a Balanchine thing."
суббота, 12 февраля 2011 г.
Notes
McGregor on creation brain-body connection:
What drives McGregor is pushing boundaries, extending the palette of what the body is capable of, or, put simply, "how you say something differently" – which is where the cognitive science comes into play. "The scientists have made a huge difference in changing the dancers' physical signatures," he explains. "What we realised is it's not just about what the dancers do, it's how they think about what they do, because the first point of departure when you're moving is actually imagining. So if you're always imagining in the same way, most likely you're always moving in the same way. If you can redirect the imagining you should be able redirect the physicality. It's pretty logical, really."
What drives McGregor is pushing boundaries, extending the palette of what the body is capable of, or, put simply, "how you say something differently" – which is where the cognitive science comes into play. "The scientists have made a huge difference in changing the dancers' physical signatures," he explains. "What we realised is it's not just about what the dancers do, it's how they think about what they do, because the first point of departure when you're moving is actually imagining. So if you're always imagining in the same way, most likely you're always moving in the same way. If you can redirect the imagining you should be able redirect the physicality. It's pretty logical, really."
пятница, 11 февраля 2011 г.
Performances
Opera de Paris (в Большом театре) -
"Сюита в белом" - Лало / Лифарь
Фрустей / Пакетт / Пюжоль / Ганьо / ???
"Арлезианка" - Бизе / Пети
Оста / Белингар
"Болеро" - Равель / Бежар
Жило
**********
На Болеро мысль немного проснулась - после хромой Сюиты и глупой Арлезианки. Болеро - балет, конечно, необязательный, как бы пустой - его заполняет исполнение, т.е. все зависит от того, заинтересует ли тебя личность исполнителя (в этом Бежар по-своему интересен). Так вот мысль зашевелилась на сравнении Жило и ЛеРиша (вчера). У Жило за счет света подчеркнуты дефекты фигуры, сломы в талии, что делает ее фигуру более нечеловеческой, этакая баб/мадонна, богиня. Это еще подчеркнуто несколько вяловатой манерой и почти что выпущенным животом, спущенными в плечах руками. ЛеРиш - пружинистый, заводила, без уверенности в себе, соблазнитель, не-бог. Жило никого не нужно завовевывать, они уже все здесь, ее танец может ускориться пропорционально танцу подданых, но в нем нет соблазна. ЛеРиш же - этакий Спартак, которому нужно парней собрать на восстание. Такой образ, конечно, по-банальнее, но и по-привычнее.
И все же непонятно, чего они так выдыхаются на этом номере?
"Сюита в белом" - Лало / Лифарь
Фрустей / Пакетт / Пюжоль / Ганьо / ???
"Арлезианка" - Бизе / Пети
Оста / Белингар
"Болеро" - Равель / Бежар
Жило
**********
На Болеро мысль немного проснулась - после хромой Сюиты и глупой Арлезианки. Болеро - балет, конечно, необязательный, как бы пустой - его заполняет исполнение, т.е. все зависит от того, заинтересует ли тебя личность исполнителя (в этом Бежар по-своему интересен). Так вот мысль зашевелилась на сравнении Жило и ЛеРиша (вчера). У Жило за счет света подчеркнуты дефекты фигуры, сломы в талии, что делает ее фигуру более нечеловеческой, этакая баб/мадонна, богиня. Это еще подчеркнуто несколько вяловатой манерой и почти что выпущенным животом, спущенными в плечах руками. ЛеРиш - пружинистый, заводила, без уверенности в себе, соблазнитель, не-бог. Жило никого не нужно завовевывать, они уже все здесь, ее танец может ускориться пропорционально танцу подданых, но в нем нет соблазна. ЛеРиш же - этакий Спартак, которому нужно парней собрать на восстание. Такой образ, конечно, по-банальнее, но и по-привычнее.
И все же непонятно, чего они так выдыхаются на этом номере?
четверг, 10 февраля 2011 г.
Performances
Opera de Paris (в Большом театре) -
"Сюита в белом" - Лало / Лифарь
Козетт / Ганьо / Сьяравола / Мартинез / Жильбер
"Арлезианка" - Бизе / Пети
Оста / Белингар
"Болеро" - Равель / Бежар
Ле Риш
"Сюита в белом" - Лало / Лифарь
Козетт / Ганьо / Сьяравола / Мартинез / Жильбер
"Арлезианка" - Бизе / Пети
Оста / Белингар
"Болеро" - Равель / Бежар
Ле Риш
понедельник, 7 февраля 2011 г.
пятница, 4 февраля 2011 г.
четверг, 3 февраля 2011 г.
Notes
Mr.B: "Music makes us aware of time".
Stravinsky: "Music can express nothing, it can express itself only... Expressing itself it creates forms".
This is God who put them together.
Stravinsky: "Music can express nothing, it can express itself only... Expressing itself it creates forms".
This is God who put them together.
Notes
Judith Mackrell. "Alexei Ratmansky: 'I hated making people unhappy'" (guardian.co.uk):
"I love the work of people like Wayne [McGregor] or Akram [Khan]. But when I see it, my own choreography feels not old-fashioned, but very different. They are pushing it, while I'm just trying to accumulate everything I know."
"What I admire about New York City Ballet dancers is their rhythmic complexity. You can see all shades of rhythm in their bodies. With Russians, what you see is a melodic thread in their dancing, an upper-body expressiveness that brings out another side of the work. In ABT, the dancers have a bit of both. It's good."
"I love the work of people like Wayne [McGregor] or Akram [Khan]. But when I see it, my own choreography feels not old-fashioned, but very different. They are pushing it, while I'm just trying to accumulate everything I know."
"What I admire about New York City Ballet dancers is their rhythmic complexity. You can see all shades of rhythm in their bodies. With Russians, what you see is a melodic thread in their dancing, an upper-body expressiveness that brings out another side of the work. In ABT, the dancers have a bit of both. It's good."
Notes
Victoria Laurie "Enabled by a vivid body language" (The Australian):
"[Platel] is searching for the tension between the wide range of uncontrolled movements and the traditional choreographic elements, between unconscious and super-conscious".
"[Platel] is searching for the tension between the wide range of uncontrolled movements and the traditional choreographic elements, between unconscious and super-conscious".
среда, 2 февраля 2011 г.
Notes
Лотман "Непредсказуемые механизмы культуры": "балетный танец превращает движение в его изображение"
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